Post-War & Contemporary

Home , Canada Council, Group of Seven (artists), Guido Molinari, Jean Dallaire, Les Automatistes, Mary Pratt (painter)

heffel F ine Art Auction H ouse post-war & contemporary art

post-war & contemporary art

Sale Thursday, november 26, 2015 · 4 Pm · Toronto

post-war & contemporary art

Auction

Thursday, November 26, 2015 4 PM Post-War & Contemporary Art 7 PM Fine Canadian Art Park Hyatt Hotel, Queen’s Park Ballroom 4 Avenue Road, Toronto

Previews

Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 31 through Tuesday, November 3, 11 am to 6 pm

Galerie Heffel, Montreal 1840 Rue Sherbrooke Ouest Thursday, November 12 through Saturday, November 14, 11 am to 6 pm

University of Toronto Art Centre 15 King’s College Circle Entrance off Hart House Circle Saturday, November 21 through Wednesday, November 25, 10 am to 6 pm Thursday, November 26, 10 am to noon

Heffel Gallery, Toronto 13 & 15 Hazelton Avenue, Toronto Ontario, Canada M5R 2E1 Telephone 416-961-6505 Fax 416-961-4245 Toll Free 1-800-528-9608 www.heffel.com Heffel Fine Art Auction House Heffel.com Departments A Division of Heffel Gallery Inc. consignments Toronto [email protected] 13 & 15 Hazelton Avenue, Toronto, Ontario M5R 2E1 Appraisals Telephone 416-961-6505, Fax 416-961-4245 [email protected] E–mail: [email protected], Internet: www.heffel.com Absentee and Telephone Bidding Montreal [email protected] 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Telephone 514-939-6505, Fax 514-939-1100 Shipping [email protected] Vancouver 2247 Granville Street, Vancouver, British Columbia V6H 3G1 Subscriptions Telephone 604-732-6505, Fax 604-732-4245 [email protected]

Ottawa 451 Daly Avenue, Ottawa, Ontario K1N 6H6 Cao tal gue Subscriptions Telephone 613-230-6505, Fax 613-230-8884 Heffel Fine Art Auction House and Heffel Gallery Inc. regularly Cay lgar publish a variety of materials beneficial to the art collector. An Heffel Gallery c/o Imperial Oil Limited Annual Subscription entitles you to receive our Auction Cata- 237 4th Avenue SW, Room 34015, Calgary, Alberta T2P 3M9 logues and Auction Result Sheets. Our Annual Subscription Telephone 403-238-6505, Fax 403-265-4225 Form can be found on page 120 of this catalogue.

Corporate Bank Cao tal gue Production Royal Bank of Canada, 2 Bloor Street East Julia Balazs, Marie-Hélène Busque, Mark Cheetham, Toronto, Ontario M4W 1A8 Lisa Christensen, Melissa Cole, Gilles Daigneault, Telephone 604-665-5710, 1-800-769-2520 Gary Dufour, François-Marc Gagnon, François Hudon, Account #06702 003: 109 127 1 Melina Rymberg, Judith Scolnik, Rosalin Te Omra Swift Code: ROYccat2 and Elizabeth Went—Essay Contributors Incoming wires are required to be sent in Canadian funds and Brian Goble—Director of Digital Imaging must include: Heffel Gallery Inc., 13 Hazelton Avenue, Toronto, Kate Galicz, David Heffel, Robert Heffel, Ontario M5R 2E1 as beneficiary. Naomi Pauls and Rosalin Te Omra—Text Editing, Catalogue Production Jasmin D’Aigle and Martie Giefert—Digital Imaging Board of Directors Jill Meredith and Kirbi Pitt—Catalogue Layout and Production Chairman In Memoriam—Kenneth Grant Heffel Peter Cocking—Catalogue Design President—David Kenneth John Heffel Auctioneer License T83-3364318 and V15-104792 Vice-President—Robert Campbell Scott Heffel Copyright Auctioneer License T83-3365303 and V15-104791 No part of this publication may be reproduced, stored in retrieval systems or transmitted in any form or by any means, digital, photocopy, electronic, mechanical, recorded or otherwise, Printed in Canada by Friesens without the prior written consent of Heffel Gallery Inc. ISBN: 978-1-927031-19-3 Follow us @HeffelAuction: LXI contents

4 Preview and Auction Locations

5 Selling at Auction

5 Buying at Auction

5 General Bidding Increments

5 Framing, Conservation and Shipping

5 Written Valuations and Appraisals

7 Post-War & Contemporary Art Catalogue

107 Notices for Collectors

108 Heffel Specialists

112 Terms and Conditions of Business

118 Catalogue Abbreviations and Symbols

119 Catalogue Terms

119 Heffel’s Code of Business Conduct, Ethics and Practices

120 Annual Subscription Form

120 Collector Profile Form

121 Shipping Form for Purchases

122 Absentee Bid Form

124 Index of Artists by Lot Preview and Auction Locations

Auction Notice The Buyer and the Consignor are hereby advised to read fully the Terms and Conditions of Business and Catalogue Terms, which set out and establish the rights and obligations of the Auction House, the Buyer and the Consignor, and the terms by which the Auction House shall conduct the sale and handle other related ★ matters. This information appears on pages 112 through 122 of this publication. All Lots can be viewed on our website at: www.heffel.com Please consult our online catalogue for information specifying ✦ which works will be present in each of our preview locations at: www.heffel.com/auction If you are unable to attend our auction, we produce a live webcast of our sale commencing at 3:50 PM EST. We do not offer real–time Internet bidding for our live auctions, but we do accept absentee and prearranged telephone bids. Information on absentee and telephone bidding appears on pages 5 and 122 of this publication. Auction ★ We recommend that you test your streaming video setup prior to our sale at: Park Hyatt Hotel Queen’s Park Ballroom www.heffel.tv 4 Avenue Road, Toronto Our Estimates are in Canadian funds. Exchange values are Hotel Telephone 416-925-1234 subject to change and are provided for guidance only. Buying Saleroom Cell 1-888-418-6505 1.00 Canadian dollar will cost approximately 0.79 US dollar, 0.69 Euro, 0.50 British pound, 95 Japanese yen or 6.32 Hong Preview Location ✦ Kong dollars as of our publication date.

University of Toronto Art Centre 15 King’s College Circle, Toronto Entrance off Hart House Circle Telephone 416-961-6505 Fax 416-961-4245 Toll Free 1-800-528-9608

4 auction details

Selling at Auction Payment must be made by: a) Bank Wire direct to the Auction Heffel Fine Art Auction House is a division of Heffel Gallery Inc. House’s account, b) Certified Cheque or Bank Draft or c) a Per- Together, our offices offer individuals, collectors, corporations and sonal or Corporate Cheque. All Certified Cheques, Bank Drafts public entities a full-service firm for the successful de-acquisition and Personal or Corporate Cheques must be verified and cleared of their artworks. Interested parties should contact us to arrange by the Auction House’s bank prior to all purchases being released. for a private and confidential appointment to discuss their pre- The Auction House honours payment by Debit Card and only by ferred method of disposition and to analyse preliminary auction VISA or MasterCard for purchases. Credit Card payments are sub- estimates, pre-sale reserves and consignment procedures. This ject to our acceptance and approval and to a maximum of $5,000 service is offered free of charge. if you are providing your Credit Card details by fax or to a max- If you are from out of town or are unable to visit us at our prem- imum of $25,000 if the Credit Card is presented in person with ises, we would be pleased to assess the saleability of your artworks valid identification. Such Credit Card payment limits apply to the by mail, courier or e-mail. Please provide us with photographic or value of the total purchases made by the Buyer and will not be digital reproductions of the artworks and information pertaining calculated on individual transactions for separate Lots. Bank Wire to title, artist, medium, size, date, provenance, etc. Representa- payments should be made to the Royal Bank of Canada as per the tives of our firm travel regularly to major Canadian cities to meet account transit details provided on page 2. In all circumstances, with Prospective Sellers. the Auction House prefers payment by Bank Wire transfer. It is recommended that property for inclusion in our sale arrive at Heffel Fine Art Auction House at least 90 days prior to General Bidding Increments our auction. This allows time to photograph, research, catalogue Bidding typically begins below the low estimate and and promote works and complete any required work such as generally advances in the following bid increments: re-framing, cleaning or conservation. All property is stored free $500 – 2,000 $100 increments of charge until the auction; however, insurance is the Consignor’s $2,000–5,000 $250 expense. $5,000–10,000 $500 Consignors will receive, for completion, a Consignment Agree- $10,000–20,000 $1,000 ment and Consignment Receipt, which set forth the terms and $20,000–50,000 $2,500 fees for our services. The Seller’s Commission rates charged by $50,000–100,000 $5,000 Heffel Fine Art Auction House are as follows: 10% of the suc- $100,000–300,000 $10,000 cessful Hammer Price for each Lot sold for $7,501 and over; 15% $300,000–1,000,000 $25,000 for Lots sold for $2,501 to $7,500; and 25% for Lots sold up to $1,000,000–2,000,000 $50,000 $2,500. Consignors are entitled to set a mutually agreed Reserve $2,000,000–3,000,000 $100,000 or minimum selling price on their artworks. Heffel Fine Art Auc- $3,000,000–10,000,000 $250,000 tion House charges no Seller’s penalties for artworks that do not achieve their Reserve price. Framing, Conservation and Shipping As a Consignor, it may be advantageous for you to have your Buying at Auction artwork re-framed and/or cleaned and restored to enhance All items that are offered and sold by Heffel Fine Art Auction its saleability. As a Buyer, your recently acquired artwork may House are subject to our published Terms and Conditions of demand a frame complementary to your collection. As a full- Business, our Catalogue Terms and any oral announcements made service organization, we offer guidance and in-house expertise during the course of our sale. Heffel Fine Art Auction House to facilitate these needs. Buyers who acquire items that require charges a Buyer’s Premium calculated on the Hammer Price as local delivery or out-of-town shipping should refer to our Shipping follows: a rate of eighteen percent (18%) of the Hammer Price of Form for Purchases on page 121 of this publication. Please feel free the Lot $2,501 and above; or, a rate of twenty-five percent (25%) to contact us to assist you in all of your requirements or to answer of the Hammer Price of the Lot up to $2,500, plus applicable any of your related questions. Full completion of our Shipping Sales Tax. Form is required prior to purchases being released by Heffel. If you are unable to attend our auction in person, you can bid by completing the Absentee Bid Form found on page 122 of this catalogue. Please note that all Absentee Bid Forms should be received Written Valuations and Appraisals by Heffel Fine Art Auction House at least 24 hours prior to the Written valuations and appraisals for probate, insurance, family commencement of the sale. division and other purposes can be carried out in our offices or Bidding by telephone, although limited, is available. Please at your premises. Appraisal fees vary according to circumstances. make arrangements for this service well in advance of the sale. If, within five years of the appraisal, valued or appraised artwork is Telephone lines are assigned in order of the sequence in which consigned and sold through either Heffel Fine Art Auction House requests are received. We also recommend that you leave an or Heffel Gallery, the client will be refunded the appraisal fee, less Absentee Bid amount that we will execute on your behalf in the incurred “out of pocket” expenses. event we are unable to reach you by telephone. version 2015.09 © Heffel Gallery Inc. 5

Sale Thursday, November 26, 2015 · 4 Pm · Toronto post-war & Contemporary ART catalogue

Featuring Works from

The Estate of Michel Moreault

Property Sold for the Benefit of the Montreal Children’s Hospital Foundation

& other Important Private and Corporate Collections 1 Gordon Appelbe Smith BCSFA CGP CPE OC RCA 1919 – Strange Forms oil on canvas, signed and on verso titled, circa 1962 30 x 24 in, 76.2 x 61 cm

Provenance By descent to the present Private Collection, Vancouver

In 1960 Gordon Smith was awarded a Canada Council Senior Fellowship, which enabled him to travel to New York, England and Europe. During this trip Smith was drawn to paintings that focused on colour, mood and light to convey their artistic message, and on his return to Vancouver in 1961, he plunged into a brighter palette. In this early 1960s period, Smith produced a group of works in which biomorphic shapes, placed in a central cluster, float on fields of colour, and Strange Forms is a boldly expressive work from this group. His brushwork is vigorous, resulting in paint surfaces that are textured and rich. Smith’s use of colour in these paintings was vivid— and here, cobalt, magenta, hot orange and lime green make a vibratory visual statement. Smith’s forms in these works suggest the vegetal, and some even suggest the internal-organ shapes used by Arshile Gorky, whose retrospective Smith viewed in San Francisco in the 1950s. Gorgeous in colour and freely expressive in its use of paint, Strange Forms draws and compels the eye of the viewer.

Estimate: $10,000 – 15,000

8 2 Gordon Appelbe Smith The post-war period in Vancouver was an exciting time for BCSFA CGP CPE OC RCA 1919 – the arts community as a whole, a time when artists, architects, writers and theatre people often worked in collaboration. Gordon Painting Smith felt that the Vancouver art community, with its experimen- oil on board, signed and on verso signed, titled tation with new ideas and abstraction, was at the forefront and inscribed B.C. Society on a label, circa 1955 in Canada. In addition to being stimulated by this ferment of 22 3/4 x 39 3/4 in, 57.8 x 101 cm modernist ideas in his own environment, Smith had traveled to Provenance San Francisco in 1951, where he was excited to encounter Ameri- By descent to the present Private Collection, Vancouver can Abstract Expressionists, including his teacher Elmer Bischoff and other artists, such as Clyfford Still and Richard Diebenkorn. This trip was a liberating experience for him, as he experimented with the physicality of new ways of painting. In Painting, Smith’s use of gesture and the fluid creation of space dominate. Although this work could contain subtle references to landscape, which he never completely abandoned, Painting is really about the abstract qualities of form, space and colour, which Smith handles with assured ease.

Estimate: $12,000 – 16,000

9 3 Gordon Appelbe Smith influenced by the paintings of American Abstract Expressionist BCSFA CGP CPE OC RCA 1919 – artist Richard Diebenkorn, whose landscapes were divided into loose geometric planes, such as in his Ocean Park series. Smith’s Sand Heads work evolved into a series of semi-abstracted landscapes charac- acrylic on canvas, signed and on verso terized by grid-like colour bands put down with brushy paint work. signed, titled and dated 1973 Smith glazed his pigments in layers, allowing the underpaint 36 x 44 in, 91.4 x 111.7 cm to show through, creating a rich surface. In response to Smith’s Provenance 1973 Bau-Xi Gallery exhibition in Vancouver, critic Joan Lowndes Marlborough-Godard, Montreal described works from this period as “tenderly lyrical, semi- Private Collection, Montreal abstract versions of the sea and shore of West Vancouver.” Sand Heads, with its planes of glowing green and rich cobalt contrasting Literature with pale sand and its delicate atmospheres of a partially clouded Ian M. Thom and Andrew Hunter, Gordon Smith: The Act pale blue sky, is an outstanding example of this period of his of Painting, Vancouver Art Gallery, 1997, page 40 work, in which he explored the vital relationship between colour and form. In the early 1970s, pioneer West Coast modernist Gordon Smith was transitioning from hard-edge abstraction back into Estimate: $10,000 – 15,000 landscape. While working his way through this change, he was

10 4 Takao Tanabe OC 1926 – Goletas Channel 2/87 Near Duval Point acrylic on canvas, signed and on verso signed, titled, dated 1987 and inscribed Errington B.C. and acrylic 26 x 60 in, 66 x 152.4 cm

Provenance Dominion Gallery, Montreal The Montreal Museum of Fine Arts, Art Sales & Rental Gallery Mira Godard Gallery, Toronto Private Collection, Montreal

After training in New York and London, Takao Tanabe experimented with abstraction before shifting to landscape in the early 1970s. While head of the art program at the Banff School of Fine Arts, Tanabe was inspired by the panoramic vistas of the Prairies and began a series entitled The Land. When he returned to British Columbia in 1980, he settled at Errington, on the east coast of Vancouver Island, to devote himself to his art. His new surroundings again informed his subject matter, and his commitment to coastal landscapes began. In this fine work, Tanabe has captured a bright and sunny winter’s day near the north end of Vancouver Island. Airy white clouds break up the brilliant blue of the sky, their reflection rippled on the waves of the ocean below. In the distance, the snowy Coast Mountains are visible through the atmospheric haze, punctuated by a grassy knoll and a rocky outcrop extending into the centre of the composition. Perfectly balanced and portrayed with great sensitivity to atmosphere, Goletas Channel 2/87 Near Duval Point is a superb example from one of Tanabe’s most desirable series.

Estimate: $20,000 – 30,000

11 5 Takao Tanabe OC 1926 – Mountain Shadow oil on canvas, signed and dated 1960 and on verso titled 38 x 25 3/4 in, 96.5 x 65.4 cm

Provenance By descent to the present Private Collection, Vancouver

Literature Ian M. Thom et al., Takao Tanabe, Vancouver Art Gallery, 2005, essay by Roald Nasgaard, page 26

In 1950 Takao Tanabe headed to New York to investigate the exciting innova- tions of the Abstract Expressionist artists there. He took classes from the influential Hans Hofmann and frequented the Cedar Bar, where the Expressionists gathered to share ideas. The power of the abstract was strong among serious painters at that time, and Tanabe said he felt that “I couldn’t paint landscape if I wanted to be a painter.” Back in Vancouver in 1952, Tanabe continued working through various approaches to abstraction. In the 1950s, lyrical abstraction rooted in landscape was a hallmark of other Vancouver modernists such as Jack Shadbolt and Gordon Smith. For Tanabe, the landscape, which would later dominate his work, began to infiltrate his paintings. Mountain Shadow, based on landscape-like motifs, is a fine example of Tanabe’s lyrical abstraction from 1960. The dramatic contrast between white and dark blue, and the horizontal slashes of white, orange and green give the work visual impact. Although the painting can be read as a purely abstract work, it could also be seen as a mountain looming over something at its base: a most stimulating visual double life.

Estimate: $10,000 – 15,000

12 6 Takao Tanabe In 1950 Takao Tanabe traveled to New York, and in 1951 took OC 1926 – classes there with Hans Hofmann and at the Brooklyn Museum Art School. Consequently he was influenced by Abstract Expres- A Landscape of Rocks sionism, which dominated the art scene there at the time. Back in oil on canvas, signed and dated 1958 Canada, and as the 1950s progressed, Tanabe evolved an expres- and on verso signed, titled and dated sionist style with gestures that were calligraphic in nature—a 26 x 60 in, 66 x 152.4 cm distinctive language of gestural form that he described as a “kind Provenance of writing hieroglyphics.” Like the works of other West Coast Mira Godard Gallery, Toronto modernists in the 1950s, such as Jack Shadbolt and Gordon Private Collection, Toronto Smith, Tanabe’s paintings could be described as lyrical abstraction that incorporated natural forms. For four or five years, until Literature 1958, Tanabe worked on his White Painting series, which, like this Ian M. Thom et al., Takao Tanabe, Vancouver Art Gallery, bold and expressive canvas, incorporated landscape motifs with 2005, page 37 abstraction, and which he gave titles referring to landscape. Of these works, artist Joe Plaskett wrote, “I like to think that these landscapes emerged out of the strokes and fragments of colour, that they were spontaneously generated and came with complete naturalness and inevitability, as everything that is good must come.”

Estimate: $20,000 – 30,000

13 7 William Kurelek w After his conversion to Catholicism in 1957, William ARCA OC OSA 1927 – 1977 Kurelek sought to emulate the example of Christ in his own life. He turned away from his own personal problems and torments, A New Brunswick Manger Scene images that had occupied his work for some years, and sought mixed media on board, initialed and dated 1975 and on verso titled to better the lives of others through painting. Here, Kurelek has and dated and inscribed 3 and Nativity Series on the gallery labels taken an authentic Canadian scene and placed it in a biblical con- 24 x 24 in, 61 x 61 cm text, and through his sincerity of message, it is fully convincing. Provenance The figure who represents Mary is dressed in clothing typical of The Isaacs Gallery Ltd., Toronto Manitoba’s Ukrainian farm women—right down to her gumboots. Equinox Gallery, Vancouver These details add to the authenticity of the scene. The stumps Sold sale of Important Canadian Art, Sotheby’s Canada, indicate that this is a logging camp—Kurelek had worked as a November 10, 1987, lot 159 logger himself. The loggers in the distance rush hungrily into the Private Collection cookhouse, oblivious to the scene unfolding in the barn a short distance away. Exhibited This work is in the original frame made by Kurelek. MacLaren Art Centre, Barrie, Ontario, The Collectors, September 22 – December 10, 1995 Estimate: $60,000 – 80,000

14 8 William Kurelek w fun they are having on the still, cold day, on what are likely to be ARCA OC OSA 1927 – 1977 homemade wooden skis. The skiers’ parkas, pants and mittens are sparks of colour in the vast sea of white, and the colours are Hay Rack Tow echoed here and there in the wind-drifts, tracks and hoofprints mixed media on board, on verso titled that mar the snow’s otherwise untrodden surface. Kurelek’s com- 8 x 8 in, 20.3 x 20.3 cm position gives viewers the feeling of being right behind the skiers, Provenance so that we too share the thrill of careening through the snow. Private Collection, Ontario This work is in the original frame made by Kurelek.

In this delightful winter scene by William Kurelek, we see Estimate: $20,000 – 25,000 three youngsters being pulled on skis behind an empty hay rack as it heads down a road deep in snow. Kurelek’s childhood memories are on full display here, and the authenticity of the scene is palpable. The skier behind the hay rack is in a classic tucked position, his posterior facing humorously our way. The others sla- lom between the fence posts, the snow (one hopes!) being deep enough to hide any barbed wire that runs between them. What

15 9 William Kurelek w representing the Star of Bethlehem above them. Caroling was ARCA OC OSA 1927 – 1977 often associated with collecting donations for the poor and usually took place after Sviatey Vechir, or the Holy Supper, the Our Carolers in Western Canada Christmas Eve celebration. These carolers, shown during the mixed media on board, initialed and dated 1973 daytime, might be on their way to a Christmas Day service, as and on verso titled in Cyrillic and inscribed with we see the church in the distance up the road. Their faces tell us a dedication in Cyrillic how much fun they are having, and their frosted breath tells us 23 1/2 x 38 in, 59.7 x 96.5 cm how cold it is. Kurelek recalled, “When my father sent me and Provenance my brother John to high school in Winnipeg, we also went to By descent to the present Private Collection, Toronto Ukrainian night school. In the process of retaining our heritage, we became better acquainted with the beauty of Ukrainian carols. Literature At Christmas, in accordance with custom, we were divided into William Kurelek, Kurelek’s Canada, 1975, page 112 groups and sent out carolling.” Kurelek painted several different depictions of Christmas William Kurelek’s paintings of the traditional Christmas carolers, and the subject clearly gave him joy as an adult. The celebrations of his childhood provide a window back to his perspective in the scene draws us into the work so that we feel youth and to life on the Canadian prairies in a time when many we could be following the carolers down the snowy road, perhaps immigrant communities were tightly knit groups dominated through the scenery of Kurelek’s childhood farm. Their bright by one unifying faith. Hard-working people who often faced clothing and the colours of the distant buildings contrast bril- discrimination and hardships, they celebrated the traditions of liantly with the snow, creating a joyful, engaging scene, which their European past and made every effort to raise their families we cannot help but smile in response to. After a period of athe- in a manner that carried on the teachings of their parents and ism and his eventual conversion from Ukrainian Orthodoxy to grandparents. Roman Catholicism, Kurelek often placed symbols of his faith Holidays and times of religious celebration were opportuni- in his works, both overt and more subtle. The row of telephone ties when these traditions could be emphasized, and the joy that poles might represent the Cross, an image that was such a strong came with them would reinforce their importance. In Kurelek’s symbol for him that he turned the letter W of his initialed signa- life, he often commented on the changes that the Ukrainian ture into a cross in most of his mature works. Yet they also might Orthodox Church was undergoing, writing in 1975, “They are be just what they are, a row of telephone poles, connecting a caught in the midst of a cultural transition which becomes more community together as does the activity of caroling on a cold difficult with each generation. There is often a conflict: Should Christmas in a Manitoba winter. At the end of his life Kurelek religious services be conducted in English or Ukrainian? Should understood that joy that came from faith, any faith, could be they be shortened from three hours to a length more in keeping universal, and in his works that return to the happy scenes with the North American patterns of worship? And so forth.” of his childhood, he has come full circle. Here, we see Ukrainian carolers on what is clearly a freezing This work is in the original frame made by Kurelek. day. Wrapped in blankets and warmly dressed, they are packed tightly into the back of a horse-drawn wagon. One child, reaching Estimate: $90,000 – 120,000 over to tuck a blanket around another caroler, holds a decoration

16 17 10 William Kurelek w William Kurelek’s memories of his childhood and youth ARCA OC OSA 1927 – 1977 spent on the family farm gave him volumes of rich material to use as subjects in his art. These scenes, especially the playful Mouse in the Hayfield ones such as Mouse in the Hayfield, often bring smiles of shared mixed media on board, initialed and dated 1972 delight to the faces of viewers who have similar memories of and on verso titled and inscribed 70 their own. Indeed, it is hard not to grin when one looks at the 10 x 7 3/4 in, 25.4 x 19.7 cm gleeful expression on the face of the young man in this painting, Provenance who pursues the mouse with a horse switch as his only weapon The Isaacs Gallery Ltd., Toronto at hand. Hair flying, shirt open, he bolts across the golden field, Private Collection, Toronto while the horses, indifferent to why they have stopped pulling, are halted at the edge of the work. The young man’s balled fist echoes his intent, and while it seems unlikely that one can eliminate a mouse with a switch, his determination seems such that the mouse could soon meet its end. This work is in the original frame made by Kurelek.

Estimate: $15,000 – 20,000

18 11 William Kurelek In the latter part of his career, William Kurelek undertook ARCA OC OSA 1927 – 1977 to chronicle the different ethnic groups within Canada in several series of works. One of these focused on the Inuit, referred to Copper Eskimo Cod Fishing as Eskimos at the time. In this fascinating scene, we see a single mixed media on board, initialed and dated 1975 fisherman standing alone at a hole cut through the ice. Kurelek and on verso titled on a label wrote, “After the cod has its flesh eaten, its soul will return to the 12 x 9 7/8 in, 30.5 x 25.1 cm lake, and enter the body of another fish, prepared to be caught Provenance again. The fisherman also believes that if he lays the fish in a cir- Christopher Ondaatje, Toronto cle around him, heads toward the hole, then he will always be in James H. Henwood XX Century Fine Art, Montreal, 1978 the midst of a school of fish.” The image is serene, the feeling it Private Collection, Victoria evokes almost spiritual, and the composition and treatment of the figure recall the religious themes often found in Kurelek’s work. Literature The overall white and grey palette is accented beautifully by the William Kurelek, The Last of the Arctic, 1976, page 82, colour of the fisherman’s parka and conveys a feeling of rever- reproduced page 83 ence, uplifting the fisherman from his state of cold loneliness to a state of dignified serenity.

Estimate: $25,000 – 35,000

19 20 12 Roy Lichtenstein Lichtenstein often found his images in commercial art, and 1923 – 1997 American the images in his Interior series are based on advertisements for furniture, found mostly in the Yellow Pages of telephone directo- Modern Room ries. Using an opaque projector, he enlarged them, traced them, lithograph, woodcut and screenprint in colours then extensively reworked them. These images, edited to abso- on Museum Board, signed, editioned 56/60 and dated 1990 lute simplicity, are cool, sophisticated and contemporary, each 50 x 74 in, 127 x 187.9 cm element carefully placed as if arranged as a still life for an Archi- Provenance tectural Digest photo shoot. Fitzpatrick writes: “The interiors were Gemini G.E.L., Los Angeles settings in which Lichtenstein’s imagination could reinvent the Equinox Gallery, Vancouver world around him in his particular style and with his brand Private Collection, Vancouver, acquired from the above in 1991 of humor. For example, the pristine, ultracool interiors that Lichtenstein painted stood in sharp contrast to the cluttered, Literature lived-in spaces of his studio … Solitary and unlived in, the interi- Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue ors represent domestic settings in which daily life and private Raisonné, 1948 – 1993, National Gallery of Art, Washington, acts can only be imagined.” DC, 1994, pages 13 and 14, reproduced page 232, In Modern Room, Lichtenstein uses the visual language he was catalogue #252 so well known for—Ben-Day dots, stripes, black outlines and flat Roy Lichtenstein, Robert Fitzpatrick and Dorothy Lichtenstein, fields. In this series, Lichtenstein often included his own works, Roy Lichtenstein: Interiors, Museum of Contemporary Art, one of which hangs in Modern Room, next to an image of Mao Chicago, 1999, listed page 98, reproduced page 91 by Andy Warhol, making reference to Lichtenstein’s own place Gemini G.E.L. Online Catalogue Raisonné, National Gallery of Art, in the art world. The inclusion of these images makes this work http://www.nga.gov/fcgi-bin/gemini.pl, accessed September 12, even more of a Pop Art icon. The shelving unit, with its geometric 2015, catalogue #1504 perfection and primary colours with black outlines, resembles a Exhibited work by Piet Mondrian, an artist who interested Lichtenstein so Equinox Gallery, Vancouver, 1991 much that he produced works based on his linear grid-like paint- Museum of Contemporary Art, Chicago, Roy Lichtenstein: ings. Modern Room is superbly balanced in all its elements, and its Interiors, July 24 – October 10, 1999, same image, black outlines give the image a bold, graphic quality that packs a catalogue #22 visual punch. This work was published by Gemini G.E.L., Los Angeles, in Roy Lichtenstein rose to fame during the 1960s, becom- 1991, and is Gemini catalogue raisonné #1504. In a complex ing a Pop Art icon with his images taken from comic books, such process incorporating lithography, woodcut and silkscreen, it as the dynamic 1963 painting Whaam!, based on an image from was produced in 12 colours in 12 runs, from two aluminum plates, DC Comics, in the collection of the Tate Modern in London. An five Baltic birch woodblocks and five screens. With its large-scale, important part of his oeuvre was his work in printmaking. He tour de force printmaking methods and striking Pop Art imagery, made his first prints in 1948, and beginning in 1962, he made Lichtenstein’s Modern Room is a highly sought-after work from his first Pop Art print. Pop Art, featuring the use of images from the Interior series. advertising and news media, elevated the everyday into the The sheet size of this work is 56 × 81 inches. This work bears realm of fine art, and Lichtenstein’s Interior series embodies a blindstamp, lower right: copyright symbol, publication date, these tenets. artist’s initials, and Gemini G.E.L. chop. Lichtenstein’s interest in images of interiors arose in the early 1960s, and he saw the subject with an ironic eye in the Estimate: $60,000 – 80,000 context of Pop Art. Robert Fitzpatrick wrote that Lichtenstein’s images could “also be understood in relation to British Pop artist Richard Hamilton’s collage spoofing the ideal modern interiors of the 1950s, Just what is it that makes today’s homes so different, so appealing? often regarded as the image that ushered in Pop Art as a major international movement.” Hamilton’s collage was a contradictory mix of points of view that included a reverence for the modern and yet acted as a droll parody of it.

21 13 Roy Lichtenstein 1923 – 1997 American Landscape with Poet 16-colour lithograph and screenprint, signed, editioned 4/60 and dated 1996 84 x 30 in, 213.3 x 76.2 cm

Provenance Gemini G.E.L., Los Angeles Fine Art & Artists Inc., Washington, DC Acquired from the above by the present Private Collection, Vancouver, 1998

Literature Gemini G.E.L. Online Catalogue Raisonné, National Gallery of Art, http://www. nga.gov/fcgi-bin/gemini.pl, accessed September 12, 2015, catalogue #1673 Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948 – 1997, National Gallery of Art, Washington, DC, 2002, catalogue #303

Roy Lichtenstein rocketed to prominence in the 1960s with his Pop Art images taken from comic book panels. But he also had a fascination with traditional Chinese landscape, which began while he was a student at Ohio State University in the 1940s. This interest entered his imagery in the last three years of his career. Lichtenstein had collected books from several major exhibitions of Chinese art, and they were the direct source of inspiration for a series based on landscapes from the Song dynasty (AD 960 to 1279). In Landscape with Poet, Lichtenstein combines one of the important devices of his Pop Art images— the use of Ben-Day dots, derived from commercial screenprinting—with the classic motifs of Chinese painting, seen here in the artfully gnarled tree and the lone figure contemplating a stunning view of distant mountains. This overlay of dots adds an ironic note of modernity, contrasting with the fine art traditions of China, known for their exquisite use of brushwork. This print was published by Gemini G.E.L., Los Angeles, on Lanaquarelle paper in an edition of 60 with 12 artist’s proofs. The sheet size of this work is 91 × 36 inches. This work bears a Gemini G.E.L. blindstamp, lower right.

Estimate: $40,000 – 60,000

22 14 Ivan Kenneth Eyre beds, summer evening skies luminous with pink light, cloudy RCA 1935 – fall mornings when leaves and grasses are withered—such experiences have carried me and filled my days … on them Red Rough I base my work.”—Ivan Eyre acrylic on canvas, signed and on verso Eyre was born in Saskatchewan and lives in the countryside signed, titled and dated 1988 outside of Winnipeg, and his work is rooted in the Prairies. How- 56 x 64 1/8 in, 142.2 x 162.9 cm ever, his landscapes are not necessarily depictions of specific Provenance places, but are reconstructions of landscape elements. Eyre Fletcher Challenge Canada Ltd., Vancouver has described his landscapes as “geographies of the spirit,” and Private Collection, Vancouver paintings such as Red Rough are distillations of his landscape experiences that contain a sense of crystallized, heightened real- Literature ity. Works like this are tremendously still, as though the land is Joan Murray, Ivan Eyre: Exposition, The Robert McLaughlin holding its breath waiting for something—the progression of the Gallery, 1980, pages 9 and 13 season through fall, the possibility of snow, or the distant suggestion of wind. Complex, sombre and majestic, Red Rough is a “Throughout my life, certain locales and images and stunning work from the most sought-after part of Eyre’s oeuvre. environs have elicited intense responses in me. Clear spaces, the sensuality of shaded groves, exposed roots in empty stream Estimate: $60,000 – 80,000

23 15 Jean-Philippe Dallaire that of the French painter and tapestry designer Jean Lurçat QMG 1916 – 1965 (1892 – 1966), under whom Dallaire apprenticed at Aubusson in 1949. In common with so many of his delightful images, A A Surrealistic Lady Surrealistic Lady catches us off guard: we are struck by the imme- oil on canvas, signed and on verso signed, titled A Surrealitic [sic] diacy of the intense and unconventional colour, the piquant Lady and A Surrealistic Lady on the Dominion Gallery label, simplification of the lady’s facial and bodily features … and that dated 1964 and inscribed Vence A.M. France hat! The backdrop, too, is reminiscent of the mille-fleurs decora- 25 1/2 x 21 1/2 in, 64.8 x 54.6 cm tive elements in tapestry, even though the design motif is a steam Provenance boiler on a wheeled cart, an object that appears in several other Dominion Gallery, Montreal works by the artist. Surely such an unconventional image could Private Collection, Montreal only have been produced by an artist of great wit, playfulness and with an unabashed confidence in his personal interpretation Jean-Philippe Dallaire’s exposure to Cubist and Surrealist of the society in which he lived. We are reminded once again of works in pre-war Paris was clearly very significant to his artistic Dallaire’s unique place in the pantheon of great Canadian artists. development. It should be noted, however, that among the various influences on this artist, none was more important than Estimate: $30,000 – 50,000

24 16 Jack Hamilton Bush ARCA CGP CSGA CSPWC OSA P11 1909 – 1977 Green Stripe acrylic polymer emulsion on canvas, on verso signed, titled, dated November 1967 and inscribed Toronto, Acrylic Polymer W.B. and A 1754 21 x 16 1/2 in, 53.3 x 41.9 cm

Provenance Leslie Waddington, Waddington Galleries, London, England James H. Henwood XX Century Fine Art, Montreal Private Collection, Victoria

Literature Marc Mayer and Sarah Stanners, Jack Bush, National Gallery of Canada, 2014, page 26

By 1964 Jack Bush’s Sash format began to give way to another powerful motif, in works referred to as his Fringe paintings. This format, employing stripes and bars, became a major element that Bush continued to use until at least 1970. Green Stripe, though not strictly a Fringe painting, draws on these common elements. In his insightful analysis of the artist’s paintings, Marc Mayer states, “We admire him as a colourist largely on the evidence of his Fringes wherein he made a good show of his articulate palette.” Articulate indeed, and Bush often takes us by surprise with his fearless and spirited colour associations and his subtleties of composition and technique, only fully appreciated when we allow our gaze to linger. Green Stripe’s deceivingly simple three vertical bands are not hard-edged stripes but confident, hand-applied staining onto the canvas ground. The title seems deceptive if one expects to see a conventional green rather than this luscious avocado hue, in the company of rich chocolate and smooth aubergine—and what an elegant dish it is! This work will be included in Sarah Stanners’s forthcoming Jack Bush Paintings: A Catalogue Raisonné.

Estimate: $25,000 – 35,000

25 17 Jack Hamilton Bush work, “color engenders structure—not the systematic structure ARCA CGP CSGA CSPWC OSA P11 1909 – 1977 of Noland or Stella, but rather … a cluster of interrelated formulas that act as convenient frameworks for color.” Top Flow Bush returned to the striped column in his Fringe works of acrylic polymer emulsion on canvas, on verso signed, 1968, though the colour columns in these works are often nar- titled, dated August 1969 and inscribed Acrylic Polymer W.B. rower, occupying less of the picture plane than in 1965 and 1966 28 1/2 x 55 1/2 in, 72.4 x 141 cm (such as This Time Yellow from 1968, in the collection of the Art Provenance Gallery of Ontario). These fringes began to expand and mutate David Mirvish Gallery, Toronto slightly in March/April of 1969, when Bush developed angina Private Collection, Toronto and translated his chest pains into the gouache series Spasm. These works featured dart-like “heart throb” shapes hurtling Literature towards planes of stacked, intense colour. Terry Fenton, “In Terms of Color: Jack Bush,” Artforum, Vol. 7, In his Spasm series, Bush utilizes this established vocabulary No. 9, May 1969, pages 36 and 37 of stripes to paint a deeply personal experience—one in which tragedy is transmuted into vivid, almost triumphant, colour. At first glance, you see what might be a Guido Molinari. The series is at odds with the ostensibly non-referential nature Or is it a Kenneth Noland? A Frank Stella? As you look closer, of Colour Field works. In some ways, this represents a perfect small details emerge that trouble these possible identifications: Bush moment: expectations of Colour Field disinterestedness the unusual deployment of colour; the fact that the red and peach are subverted, and instead, lived reality is celebrated through bands tilt up towards the right, somewhat rakishly; the uneven riotous colour. edges between various colour bands. You cannot put your fin- This invocation of both his own history and that of other ger on why, but the work feels like a Jack Bush. Of course this is Colour Field painters is perhaps why Fenton wrote, in the same a Bush—only Bush would utilize the stylistic elements of late- article, that he could “think of no other artist who so consis- 1960s abstraction just to cheekily undermine them. tently confounds one’s initial expectations.” Rather than a cool, In 1966 Bush began using masking tape to delineate colour detached work that only references its own materials, this paint- fields. Unlike other artists who strove for perfectly clean edges, ing is brimming with Bush’s life, in all its idiosyncratic beauty. Bush let the bits of paint that had leaked beneath the tape remain. Rather than an impersonal, formulaic painting system, we are This was an extension of Bush’s paint handling technique: works greeted with a deeply personal and intuitive understanding of featured splotches, drips, rubbed-in colour, and patches that sug- how and why colours fit together, and of the ways in which tex- gest overpainting or editing. Rather than erasing these traces of tures can increase the viewer’s experience. Fenton ultimately his presence, he allows them to stand as testament to the process states, two months before this painting was produced, that of painting. In this work, the bits that bleed between grey and “what a painting looks like initially and what it proves itself to be peach, or the places where red and pink intermingle, serve to add is a continuing critical problem posed by Bush’s art.” This prob- textural interest to the work—a surface texture that Bush would lem is not overt; it necessitates careful scrutiny. In this, as with later embrace in his mottled-ground works. all Bush works, the reward is there, if only you look for it. Starting in early 1967, Bush began to expand his striped col- We thank Elizabeth Went, project coordinator and lead umns and banners across the entire surface of a work, creating research assistant for Jack Bush Paintings: A Catalogue Raisonné, fields of stacked stripes that often fold over on themselves or abut for contributing the above essay. other striped groupings. These works bear more than a passing This work will be included in Sarah Stanners’s forthcoming resemblance to the works of other Colour Field or Op Art painters, Jack Bush Paintings: A Catalogue Raisonné. but they are notably devoid of either black or white—Bush works are pure colour. Indeed, as noted by Terry Fenton, in a Bush Estimate: $125,000 – 175,000

26 27 28 18 Jack Hamilton Bush After all this praise and recognition, Bush did what he had so ARCA CGP CSGA CSPWC OSA P11 1909 – 1977 often done in his career: he turned 180 degrees away from what had “worked” towards something new—in this case, an almost Long Green radical simplicity of form. In these works, exemplified here by acrylic polymer emulsion on canvas, on verso signed, titled, Long Green, Bush pulls back from the suggestion of imagery (with dated January 1973, inscribed Toronto and Acrylic Polymer W.B. titles such as June Garden replaced with dates, abstract phrases or and stamped Jack Bush Art Estate on a label descriptors of the works themselves), as well as from the “hand- 65 3/4 x 32 3/4 in, 167 x 83.2 cm writing” of loops, splotches and slashes. Instead, he simplifies Provenance forms to their logical conclusions: horizontal or vertical bars David Mirvish Gallery, Toronto, 1973 that echo the edge of the canvas, flattening any sense of illusion Estate of the Artist created by the speckled grounds while maintaining the figure/ Miriam Shiell Fine Art, Toronto ground relationship. Here, Bush seems to be in conversation with Newzones Gallery of Contemporary Art, Calgary his Colour Field peers, especially Jules Olitski, whose sprayed Sold sale of Important Canadian Art, Sotheby’s Canada in works of the mid-1960s similarly featured stripes or dots of association with Ritchie’s, November 20, 2006, lot 172 colour near the edges, deployed in an effort to affix the otherwise Private Collection, Montreal ethereal colour clouds to the canvas. Bush’s greatest source of inspiration, however, is his own Literature past works. Here we see him liberating the stripes of the 1967 Hilton Kramer, “Boston Gambles with Bush,” The Globe and Mail, works or 1970s Series D works (for comparison, look to 1969’s March 2, 1972, page 12 Juxta, featured in the recent Bush retrospective in Ottawa), giv- Kay Kritzwiser, “Sex Is Subtle in Etrog Sculptures,” The Globe ing each colour band its own space within the picture plane. We and Mail, December 2, 1972, page 30 see the interplay between these reduced forms and the mottled Theodore Allen Heinrich, “Jack Bush: A Retrospective,” grounds he began using in late 1969, which Marc Mayer astutely Artscanada, Vol. 34, No. 1, March/April 1977, page 8 noted “simulate texture, not perspective,” here in his trademark Marc Mayer and Sarah Stanners, Jack Bush, National Gallery palette of blues and greens. This combination both troubles and of Canada, 2014, pages 28 and 40 reaffirms Bush’s artistic quest: the work is both non-specific in Exhibited its “imagery” and idiosyncratic in its rolled ground, both radically Newzones Gallery of Contemporary Art, Calgary, Jack Bush: simple and infinitely varied, both echoing his peers and uniquely Paintings, 1959 – 1973, October 23 – November 20, 2004 his own. If, as suggested by Georg Wilhelm Hegel, progress is in the synthesis of the thing and its opposite, the thesis and Painted sometime between the calligraphic works of 1972 antithesis, then it is no wonder Bush moved on shortly after the and the Totem series of spring 1973, this work might initially completion of this work: he had successfully synthesized some seem to sit uncertainly within Jack Bush’s oeuvre. He only painted of his previous career highlights and, in so doing, could move in this style, with rectilinear forms pushed to the edges of the forward. mottled canvas ground, from October 1972 to February 1973, We thank Elizabeth Went, project coordinator and lead making this one of the briefest of Bush’s stylistic experiments. research assistant for Jack Bush Paintings: A Catalogue Raisonné, In the 2014 Jack Bush exhibition catalogue, Sarah Stanners for contributing the above essay. noted that Bush “aimed to resolve problems, often extending This work will be included in Sarah Stanners’s forthcoming his process of resolution through a series of paintings … because Jack Bush Paintings: A Catalogue Raisonné. he had found a way out, or a way in, to his satisfaction.” The relatively few paintings in this style therefore do not suggest dis- Estimate: $90,000 – 120,000 satisfaction with the format, but instead suggest Bush resolved whatever issue he had set out to tackle. In early 1972, Bush opened the Museum of Fine Arts, Boston’s new contemporary galleries, to rave reviews by the likes of the New York Times’s Hilton Kramer, who called Bush “one of our best living painters.” In Canada, his work was selected for the Ontario Society of Artists’ 100th-anniversary retrospective, for the National Gallery of Canada’s touring show Toronto Painting: 1953 – 1965, and featured heavily in Joan Murray’s Painters Eleven retrospective. These exhibitions allowed Bush to examine the evolution of his work and the place of his practice alongside his Canadian peers. The year 1972 was capped off by a solo show at the David Mirvish Gallery of the verdant calligraphic works of spring/summer 1972. The works in the show were lauded by Kay Kritzwiser as “purely beautiful colour landscapes.”

29 30 19 Barbara Hepworth w 1903 – 1975 British Three Forms (Three Horizontal Curves) unique slate sculpture, 1969 15 1/4 x 11 x 9 3/4 in, 38.7 x 27.9 x 24.8 cm

Provenance Marlborough Fine Art, London, England Galerie Godard Lefort, Montreal Private Collection, Montreal, October 1, 1970

Literature Barbara Hepworth, Recent Work: Sculpture, Paintings, Prints, Marlborough Fine Art, 1970, reproduced page 25 Alan Bowness, editor, The Complete Sculpture of Barbara Hepworth, 1960-69, 1971, reproduced page 199, listed page 222, catalogue #480 Barbara Hepworth: Sculpture for a Modern World, Tate Britain, http://www.tate.org.uk/whats-on/tate-britain/exhibition/ barbara-hepworth-sculpture-modern-world, accessed July 20, 2015 Quotations from Barbara Hepworth’s Writings, http://barbara hepworth.org.uk/texts, accessed July 20, 2015

Exhibited Marlborough Fine Art, London, England, Barbara Hepworth, Recent Work: Sculpture, Paintings, Prints, February – March 1970, catalogue #17

Barbara Hepworth was one of the most acclaimed and beloved sculptors of the twentieth century. Hepworth keeps company with the A-list of innovators in this genre, including Hans Arp, Constantin Brancusi, Alberto Giacometti, Louise Nevelson and especially her countryman Henry Moore. Her work has been exhibited and studied extensively and is the focus of a current retrospective at Tate Britain in London. While Hepworth’s reputation garnered her large public com- Barbara Hepworth in the garden of Trewyn Studio, St. Ives, 1957 missions, her inclination was to sculpt on an intimate scale. She Photo: Studio St. Ives © Bowness was most interested in—and explored profoundly—the interac- tions that her abstract forms made possible with a specific viewer. Although it is correct to think of Hepworth’s sculpture as abstract, challenge of this material, exploiting its potential for tapered her creations were always decidedly of this world, in that they forms and a lustrous, matte finish. The presence of Three Forms were inspired by familiar forms such as seashells and rocks. is also realized by the subtlety with which Hepworth articulates Above all, she made reference to the human body. “Sculpture,” and distinguishes its horizontal elements. For example, the exqui- Hepworth said in a 1959 interview, “communicates an immedi- sitely tapered edges of the middle of the three wing-like forms is ate sense of life—you can feel the pulse of it. It is perceived, above especially true to the angularity that we associate with slate, but all, by the sense of touch which is our earliest sensation; and Hepworth also delicately shows its softer, more malleable side. touch gives us a sense of living contact and security.” The all- Thus if we look from an angle where the top form is facing us and important sense of touch underlines Hepworth’s lifelong praise the sharply tapered edges of the middle form are most evident, of carving as the sculptural technique most attuned to its materi- we can easily see and touch the rounded “nose” of the top form, als and to the corporeality of artist and audience alike. in contrast to the fine edge to the right. That sculpture augments our perceptual faculties is joyously Crucially for our eye and for our sense of touch, each of what evident in Three Forms (Three Horizontal Curves), from 1969. It we might well see as the three bird-like forms is turned on a is a small sculpture whose large presence is assured by several different angle on the heavier, grounding base of the sculpture, factors. First, refinement of form and technique. Slate is an giving a sense of motion even as we stand still. The base is indeed unusual material for a carved sculpture; we do not see it in lists the ground or the earth. It is assertively square, in contrast to the of stones typically preferred by artists. Hepworth embraces the three upper forms, which read as triangular and, in their relative

31 Three Forms (Three Horizontal Curves) in the studio Three Forms (Three Horizontal Curves) in the studio Photo: Studio St. Ives © Bowness Photo: Studio St. Ives © Bowness

lightness, as soaring aloft. The sculpture’s luxurious surfaces also We thank Mark Cheetham, Professor of Art History at the reflect light in a particularly rich way, with the effect that abstract University of Toronto, for contributing the above essay. echoes of the base and the three forms appear as abstract shapes We thank Dr. Sophie Bowness for providing information in on the bottom edges of each element, darkening these surfaces preparing this catalogue entry. Bowness is preparing the revised and adding subtle contrasts to our repertoire of visual experience. catalogue raisonné of Hepworth’s sculpture, in which this work While this captivating sculpture encourages personal reveries, is included, as BH 480. Hepworth’s work is never ultimately self-absorbed or solipsitic. Consignor proceeds from the sale of this lot will benefit the Here, as in all her sculptures, the individual context should Montreal Children’s Hospital Foundation. expand to join with larger considerations. She has asked, “What is the meaning of sculpture? Today when we are all conscious Estimate: $200,000 – 300,000 of the expanding universe, the forms experienced by the sculptor should express not only this consciousness but should, I feel, emphasize also the possibilities of new developments of the human spirit, so that it can affirm and continue life in its highest form.” That Hepworth expressed this aspiration over 50 years ago does not in any way diminish its relevance today, but instead attests to the enduring nature of her work.

32 20 Sorel Etrog w RCA 1933 – 2014 The Couple bronze sculpture, signed and editioned 4/7, 1964 52 x 12 1/2 x 10 in, 132.1 x 31.7 x 25.4 cm

Provenance Gallery Moos Ltd., Toronto Private Collection Sold sale of Contemporary Art, Sotheby’s New York, March 9, 2011, lot 275 Private Collection, Calgary

Literature Carlo L. Ragghianti, Sorel Etrog, 1968, the 16-foot-high version reproduced page 22

The evolution of Sorel Etrog’s sculpture took place over a period of more than four decades, dating from his earliest exhibitions in Tel Aviv, in 1957. Soon after immigrating to Canada in 1959, Etrog started a long relationship with Toronto’s Gallery Moos, which hosted his first Canadian exhibition, featuring the painted relief works documented in Theodore Heinrich’s 1968 monograph. During the many years to follow, his sculptures, paintings and drawings would be exhibited worldwide, and Etrog’s monumental bronzes have become permanent and valued additions to the urban landscape and to public collections throughout North America, England, Europe, India, Korea and Israel. Although his three- dimensional works have taken on many and varied formats, it is not beyond imagining that the first sculptural format that comes to mind to those familiar with his work is that of a delicately balanced, tapered column, defying gravity in its upward movement towards a heavier organic shape above. The Couple is one such work, an elegant sculpture that celebrates humanity’s better instincts.

Estimate: $40,000 – 60,000

33 21 Sorel Etrog Sorel Etrog’s seminal relief constructions are neither RCA 1933 – 2014 strictly paintings nor are they sculpture in the traditional sense. This series of works, produced between 1952 and 1960, Night Targets demanded the artist’s full panoply of technical skill and artistry wood panel sculpture with applied relief, as a colourist, a designer and a sculptor. Etrog began to exper- on verso signed, dated 1959-60 and inscribed 60 iment with the painted relief format while still living in Israel, 26 1/2 x 29 x 1 1/4 in, 67.3 x 73.7 x 3.2 cm incorporating symbols of harbours, music and scaffolding as Provenance design elements. He continued to work in this medium soon after Private Collection, Toronto coming to North America, adding new elements such as stylized birds and discs, and completed the series that includes Night Literature Targets in his New York City studio. In his definitive monograph, Theodore Allen Heinrich, The Painted Constructions 1952 – 1960 Theodore Heinrich relates that by 1959 Etrog’s work more often of Sorel Etrog, 1968, page 98, reproduced page 99 sprang from his personal experiences and emotions. Night Targets, Michele Becker, Sorel Etrog: Painted Constructions 1952 – 1960, the artist told him, was about his fear of New York traffic, repre- Buschlen Mowatt Gallery, 2006, reproduced page 19 sented vividly here by a glowing yellow headlight aimed at Exhibited a target, the target being Etrog himself. Buschlen Mowatt Gallery, Vancouver, Sorel Etrog: Included with this lot are copies of the Theodore Allen Painted Constructions 1952 – 1960, 2006 Heinrich and Michele Becker books cited.

Estimate: $50,000 – 70,000

34 22 Joseph Hector Yvon (Joe) Fafard w OC RCA 1942 – Diego bronze sculpture with patina and acrylic paint, signed, editioned AP I and dated 2001 35 x 12 1/4 x 8 in, 88.9 x 31.1 x 20.3 cm

Provenance Private Collection, Calgary

Literature Terrence Heath, Joe Fafard, National Gallery of Canada and the MacKenzie Art Gallery, 2007, reproduced page 196

Exhibited National Gallery of Canada, Ottawa, Joe Fafard, February 1 – May 4, 2008, traveling to the MacKenzie Art Gallery, Regina; the McMichael Canadian Art Collection, Kleinburg; the Art Gallery of Nova Scotia, Halifax; the Glenbow Museum, Calgary; and the Winnipeg Art Gallery, 2008 – 2009, a work from this edition, catalogue #63

In the early 1980s, Joe Fafard began to create portraits of well-known artists whom he admired. He executed over 50 sculptures of Vincent van Gogh alone, and has created bronzes depicting Henri Matisse, Auguste Renoir, Emily Carr and Pablo Picasso. Fafard studied the lives of these artists in great detail, wanting not only to achieve their likeness phys- ically, but also to convey something about the artist’s work through the way he handled the sculpture. In his portrait of Diego Rivera, Fafard has captured the likeness of the Mexican painter exactly, especially his stance, which we can see in the numerous photographic portraits and films of Rivera. The pati- nation and painted surface of these works is different on each of the bronzes in this small edition, and recalls Rivera’s blended brushwork and use of warm colours. It is his gaze that is the most compelling, Rivera looks out into space, caught fully in his own thoughts but still clearly observing something—unaware that we are observing him in a quietly intense moment. Fafard continues to work on his artists series to this day.

Estimate: $25,000 – 35,000

35 36 23 Jack Hamilton Bush Critics often speak of Bush’s “love of things,” which is to say, ARCA CGP CSGA CSPWC OSA P11 1909 – 1977 the consistent influence of the natural world on his ostensibly abstract compositions. This is evident in the visual traces of flags Moon Gust in his early abstracts, of garden imagery, or of women’s cloth- acrylic polymer emulsion on canvas, on verso signed, titled, ing (in the Sash series as well as Dorothy’s Coat, from 1972). The dated Oct. 1976 and inscribed Acrylic Polymer W.B. / Toronto “real” world is certainly referenced here, not just in the central 55 1/2 x 78 1/2 in, 141 x 199.4 cm moon form, but also in the way in which the shading around this Provenance moon suggests a certain recession into a shallow space in which Estate of the Artist the handkerchief forms float like confetti. This central circular Theo Waddington Galleries, Toronto, 1981 motif appears elsewhere in Bush’s work, but often as a red disc (for example, in both Day Spin and Night Spin of May 1976, which Literature were given their own room at the 2014 – 2015 retrospective at Jack Bush: Paintings and Drawings, 1955 – 1976, Arts Council the National Gallery of Canada in Ottawa). This motif appears in of Great Britain, 1980, page 13, catalogue #31 Bush’s work as early as 1947, often in works related to his anxiety, Martin Hammer, “Jack Bush,” Art Monthly 40, 1980, reproduced but here, it feels joyous and free, thanks to the abstract hand- page 10 kerchief forms (indeed, this is the only work that features the John Russell Taylor, “Edinburgh Festival,” The Times (London), combination of circular motifs and handkerchiefs). August 19, 1980 Bush also references the natural world via the strong influ- Hilton Kramer, “A Garden for the Eye: The Paintings of Jack ence of jazz music on his compositions. Other works in the Bush,” Artscanada, December 1980 / January 1981, pages 16 Handkerchiefs series, such as Mood Indigo (1976), owned by the and 17 Metropolitan Museum of Art, draw their titles from jazz stan- Joan Murray, “Jack Bush in Great Britain,” Artmagazine, Vol. 12, dards—“Mood Indigo” was a tune written by Duke Ellington and No. 52, February/March 1981, page 30 Barney Bigard in 1930. While Moon Gust does not derive its title Marc Mayer and Sarah Stanners, Jack Bush, National Gallery from jazz, it is reminiscent of the song “How High the Moon,” of Canada, 2014, essay by Karen Wilkin, page 88 released by the Benny Goodman Sextet in 1947, and something Exhibited of Goodman’s gentle clarinet and Jimmy Rowles’s syncopated Talbot Rice Art Centre, University of Edinburgh, Scotland, piano find an echo here. Bush’s works speak to a jazz musician’s Jack Bush: Paintings and Drawings, 1955 – 1976, August 15 – mentality—a connection discussed by Karen Wilkin in her 2014 September 13, 1980, touring in 1980 to the Serpentine Gallery, retrospective essay, where she likens Bush’s ability to create vari- London, and the Ikon Gallery, Birmingham, catalogue #31 ations on a theme to the ways in which a jazz musician improvises over familiar tunes. In jazz, too, it is common to “quote” other When reviewing the 1980 exhibition Jack Bush: Paintings great musicians’ solos, or bits of famous songs. The ability to and Drawings, 1955 – 1976, critic Hilton Kramer eulogized Bush improvise is likened to mastery: of the influence of past greats, while describing his last series of works—aptly titled Handker- of theory, but also of personal expression—a mastery that Bush chiefs—commenting that they “constitute … Bush’s finest work. certainly possesses in this late work. There is something eerie in the spectacle of all this strength We thank Elizabeth Went, project coordinator and lead gathering force on the eve of the artist’s death, quite as if he were research assistant for Jack Bush Paintings: A Catalogue Raisonné, transferring his vitality to the canvas … This is part of what we for contributing the above essay. mean when we speak of ‘late’ art. There are fine painters who This work will be included in Sarah Stanners’s forthcoming never achieve it—Picasso was one who didn’t—but Bush achieved Jack Bush Paintings: A Catalogue Raisonné. it triumphantly.” This is a bold assertion about a painter whose work spanned 40 years and who enjoyed almost 20 years of Estimate: $80,000 – 120,000 critical acclaim. Perhaps this comment can be best understood through Bush’s own assertion, months before his death, that part of the artist’s job is the management of influences. In this final series of works, we see Bush not just managing, but mastering, so much of what influenced him throughout his career. As noted by Kramer, one of Bush’s undeniable influences was Henri Matisse. In the Handkerchiefs series we see reference to Matisse’s late cut-out works, in particular works in which bits of irregularly cut square and rectangular paper pieces intermingle across an otherwise blank picture plane. This Handkerchiefs work demonstrates Bush building upon Matisse’s use of flat, overlapping rectangles by rendering them in scrubbed, almost translucent acrylic paint, and by allowing them to seemingly drift off the edges of the canvas, into the liminal space at its borders.

37 24 Guido Molinari This canvas, entitled Mutation rythmique rouge-orange AANFM LP QMG RCA SAPQ 1933 – 2004 (Red-Orange Rhythmic Mutation), was part of the great retrospective organized by the National Gallery of Canada in Ottawa Mutation rythmique rouge-orange in 1976 and which traveled during the following year to the Mon- acrylic on canvas, on verso signed, titled, dated 12/1966 treal Museum of Fine Arts, the Art Gallery of Ontario and the and inscribed Cat No. 36 on two labels and G.M.–T–1966 Vancouver Art Gallery. The curator of this show, Pierre Théberge, 90 1/8 x 78 1/8 in, 228.9 x 198.4 cm one of the leading connoisseurs of Molinari’s art, had selected Provenance two dozen works from this period, which gave a good idea of the Estate of the Artist extreme diversity of the work. This section of the National Gal- lery of Canada’s retrospective paradoxically showed a Molinari Literature crazy for colour, playing with the width and serial repetitions of Yves-Gabriel Brunet, “Le peintre Guido Molinari: l’immanence his stripes as would a musician or a poet. Needless to say, music Mallarméenne,” Le Devoir, April 8, 1965 and poetry entered the head and heart of Molinari at the same Pierre Théberge, Guido Molinari, National Gallery of Canada, time as drawing and painting, and they remained there until the 1976, listed page 94 very end (as evidenced by his latest exhibition, inspired by the Exhibited poem by Stéphane Mallarmé, “Un coup de dés jamais n’abolira National Gallery of Canada, Ottawa, Guido Molinari, July 2 – le hasard,” and the existence of the Molinari Quartet). September 6, 1976, traveling to The Montreal Museum Among the paintings in this series, which never strike the same of Fine Arts, the Art Gallery of Ontario, Toronto, and the rhythm with one viewer as with another—and even for one viewer, Vancouver Art Gallery, 1976 – 1977, catalogue #36 different rhythms at different times—the compositions with more numerous stripes that are closer together (including Mutation In 1966, when Guido Molinari displayed his Rhythmic Muta- rythmique rouge-orange as one of the most complete examples) tions in a gallery in East Hampton, New York, he was only 33 years remain the most enigmatic and polysemic, those which render old, but he had already come a long way. This was his 10th solo the most unpredictable interpretations. It was when thinking exhibition—his third in the United States—and since 1954, he had about this kind of mutation that Molinari wrote, at the time: been giving himself very short deadlines. It was not until 1963 “Form is infinite, unlimited, it is a constant permutation. Space that he discovered the spatial structure that met all his require- is a form itself and space is, therefore, an unlimited mutation … ” ments: paintings with vertical stripes of equal width, a pattern We thank Gilles Daigneault, executive director of the Guido that allowed him to speak exclusively of colour, rhythm and Molinari Foundation in Montreal, for contributing the above essay. energy. He stuck to this single composition until 1969. Further- more, there was a happy coincidence that occurred in his life: this Estimate: $100,000 – 150,000 was the time when Molinari decided to considerably enlarge his workshop through the demolition of a wall in his house in Ville Saint-Laurent, which enabled him to make much larger paintings, more likely to reach the full potential of his new spatial concerns. The 1960s were very prestigious for the painter, a decade in which he experienced his most brilliant successes: in 1965, he participated in the important exhibition The Responsive Eye at the Museum of Modern Art in New York, and three years later, he represented Canada at the 34th Venice Biennale, where he won the coveted David E. Bright Foundation Award. In these years, he also presented a first retrospective of his work in Regina and in Vancouver; he was a grantee of the Guggenheim Foundation and was the laureate at the museum’s Spring Exhibition in 1965. In short, he participated in countless events of major importance in Quebec and Canada, but also in the United States and Europe.

38 39 40 25 Guido Molinari compositional structure of figure/ground. He instead sets out AANFM LP QMG RCA SAPQ 1933 – 2004 blocks of thick paint that in form mimic, echo and mirror each of the other blocks across what remains a single unified surface. Sans titre He experiments with this chromatic form of abstraction, using oil on canvas, on verso titled and dated 1955 a restricted, monochromatic palette of a few pure colours and on the labels and inscribed 3-3 white. Each colour/form is placed next to another colour/form on 20 x 23 5/8 in, 50.8 x 60 cm the canvas to create a wholly new all-over painterly space. Provenance Molinari has spoken of this field as a dynamic space to be acti- Estate of the Artist vated by viewers as a new experience. The coloured areas of the painting create equivalences with each other. No single colour Literature sits on or in front of any of the adjacent colour areas. No pictorial Piet Mondrian, letter to James Johnson Sweeney, fall 1943, depth is invoked, but instead each colour is held in tension by the published in James Johnson Sweeney, “Mondrian, the Dutch other blocks of colour. This dynamic tension between space, form and De Stijl,” Art News, Summer 1951, page 24 and colour relies on the mutual opposition of blocks of colour that Gary Dufour et al., Guido Molinari, 1951 – 1961: The Black and share a single surface. In fact, every colour in Sans titre is on the White Paintings, Vancouver Art Gallery, 1989, essay by Guido same plane, the same surface—any suggestion of depth is a result Molinari, “The ‘Blob’ Space or The Automatism Situation,” of the physical abutment of pigments overlapping where the thick 1955, pages 40 – 41, listed page 45 slabs of colour meet or where one hue has been applied directly Camille de Singly, reConnaître Guido Molinari, Musée de on top of part of an adjoining colour. Grenoble, 1998, listed page 47, reproduced page 13 Molinari was creating a new painterly space, a robust physical Exhibited all-over composition. The space in Sans titre is not guided by line Vancouver Art Gallery, Guido Molinari, 1951 – 1961: The Black or any geometry internal to the painting but exists as a dynamic and White Paintings, January 25 – March 27, 1989, traveling space activated by the perceptions and decisions of each viewer. to the Art Gallery of Windsor and the Art Gallery of Ontario, In a sense Molinari creates a painting event, something tempo- Toronto, 1989 – 1990, catalogue #15 ral, and something chromatic to share with viewers in real time. Musée de Grenoble, France, Guido Molinari, October 17 – With Sans titre, Molinari achieves a purity of colour and an essen- January 3, 1999, catalogue #6 tial form which already separates his work from those forms of expressive abstraction he felt were an impediment to extending A dominant figure in the history of abstract painting in Can- the legacy of abstract art. This small painting from the mid- ada for six decades, Guido Molinari was always an original and, 1950s, together with his achievements in black and white from most importantly, an innovative artist with an independent voice. the following year, prefigure that other building block we see Looking back, 1955 was Molinari’s breakout year, the year when throughout his oeuvre from 1959 onwards, the hallmark vertical his work and writing catapulted him to leadership in the art scene slabs of colour and simple forms placed adjacent to each other in Montreal. The year began with a short trip in January to New that quickly became his signature stripe paintings. York—his first. There he encountered the works of Wassily Kan- We thank Gary Dufour, Adjunct Associate Professor at the dinsky at the Museum of Non-Objective Painting, Piet Mondrian University of Western Australia, who was the curator of the exhi- at the Museum of Modern Art, and he most likely sought out bition Guido Molinari, 1951 – 1961: The Black and White Paintings, paintings by Kazimir Malevich as well as those of the American shown at the Vancouver Art Gallery, the Art Gallery of Windsor Abstract Expressionists. He had a particular interest in Jackson and the Art Gallery of Ontario in 1989 – 1990, for contributing Pollock, an artist he had followed closely since first reading about the above essay. him in Life magazine, and Mondrian, again from an article read in his youth. In New York, Molinari encountered abstract art that Estimate: $60,000 – 80,000 was different to the abstraction familiar to him from the Mon- treal Automatists, and it had a decisive impact. He articulated his thoughts in one of what were to become many, now seminal texts on abstraction: “L’espace tachiste ou Situation de l’automatisme.” And then, only a month later, in May, he founded the first gallery in Canada devoted exclusively to abstract art, Galerie l’Actuelle. Sans titre from 1955 can be seen as his direct application of the ideas engendered by this first-hand encounter with abstract art. Molinari began using broad slabs of pure colour, applied thickly with a palette knife. They were both his building blocks and the solution allowing decisive action, “to destroy volume by using the plane, to destroy the plane; and, further to destroy lines through mutual opposition,” as he stated. In Sans titre Molinari divests the canvas of all traces of illusory space and moves beyond a

41 26 William Paterson Ewen As a pupil of John Lyman at McGill University and Goodridge AANFM RCA 1925 – 2002 Roberts and Group of Seven member Arthur Lismer at the Mon- treal Museum of Fine Arts, Paterson Ewen had an early training Elongated Rectangles in keeping with the traditional figurative style of painting of oil on canvas, initialed and inscribed 60, 1964 the early post-war period. However, the 1950s marked a turn- 50 x 50 in, 127 x 127 cm ing point in Ewen’s artistic approach, as his relationships with Provenance Paul-Émile Borduas and the Automatists ushered him into the Acquired directly from the Artist in 1967 avant-garde world of abstraction. By the 1960s, Ewen transi- by the present Private Collection, Montreal tioned into a style of geometric abstraction influenced by the work of his contemporaries Claude Tousignant and Guido Literature Molinari. Elongated Rectangles showcases Ewen’s transitional Matthew Teitelbaum, Paterson Ewen: The Montreal Years, process, as he worked past the figurative approach of his prede- Mendel Art Gallery, 1987, dated 1964, listed page 47, cessors and experimented in the world of the avant-garde. reproduced page 4 Ewen’s expert skill at compositional arrangement is mani- Exhibited fested in this work as he stacked the three rectangles, creating a Mendel Art Gallery, Saskatoon, Paterson Ewen: The Montreal Years, structural formation that is rhythmic and optically balanced. He November 20, 1987 – January 3, 1988, traveling in 1988 interposed a yellow rectangular form between blocks of comple- to the London Regional Art Gallery; Art Gallery of Windsor; mentary blue and orange, creating a vibrant visual effect. This Concordia Art Gallery, Montreal; and Saint Mary’s University colour palette, which skilfully balances cool and warm hues, Art Gallery, Halifax, catalogue #73 reappears in several of his iconic 1970s works on plywood.

Estimate: $25,000 – 35,000

42 27 Ulysse Comtois echoing the works of Plasticien painters such as Fernand Leduc 1931 – 1999 and those associated with them, such as Guido Molinari and Claude Tousignant. However, Comtois’s energetic and visible use Untitled of the paintbrush adds texture and a distinct Automatist spirit to oil on board, signed and dated April 1964 the overall composition. His refusal to adhere to a single artis- 12 x 10 in, 30.5 x 25.4 cm tic movement is manifest here. Moreover, Comtois rejected the Provenance idea of limiting oneself to a single medium, which is why he is TrépanierBaer Gallery, Calgary known for both his paintings and his sculptural works. Although Private Collection, Toronto a distinct endeavour, his sculptures allowed him to research the possibilities of movement and dynamism that were eventually This vibrant oil on board by Ulysse Comtois reveals the art- integrated into his paintings. Untitled is a fine example of how ist’s desire to combine aspects of the Automatist and Plasticien he transcended the two-dimensional constraint of the canvas to movements, displaying the expressive touch of the former as create a highly energetic and engaging painting. well as the linear structure of the latter. Bold horizontal bands of rich yellow, red, green and black are repeated sequentially, Estimate: $7,000 – 9,000

43 “Painting … should neither represent nor deal with the 28 Guido Molinari object, but on the contrary should attempt to become an object AANFM LP QMG RCA SAPQ 1933 – 2004 itself … Colour is to painting what the word is to poetry … [It is] the Sans titre colour which determines the form.”—Guido Molinari acrylic on canvas, signed and dated 1962 Sans titre is an exceptional work from Molinari’s 1960s cycle 23 x 23 in, 58.4 x 58.4 cm of abstract works that established their pictorial structure through horizontal and vertical stripes and sections of evenly modulated, Provenance contrasting colours. Molinari considered colour to be a form of Private Collection, New York energy and stated that he used “colour as a structural element, not Literature as light, but as energy.” Molinari’s juxtaposition of colours creates Pierre Théberge, Guido Molinari, National Gallery vibratory effects along their intersections, and these colours appear of Canada, 1976, pages 31 and 41 to change when bordered by other colours and when used in different sizes and shapes—as with the blue in Sans titre, when bordered by either black or red. Molinari explained that “the same colour would have a different function according to its position in the ‘structure.’ ” Thus works such as this electric painting are perceived by each individual viewer as an exciting and dynamic visual event.

Estimate: $25,000 – 35,000

44 29 Raymond John Mead Painters Eleven artist Ray Mead had very strong feelings CGP CSGA P11 1921 – 1998 about colour. Regarding black, he stated, “It’s a colour within a narrow dark range, which gives it power like a drumbeat. It’s like Stargazer a great wall which stops you.” Indeed, the black gestural lines in acrylic on burlap on canvas, signed and dated 1993 Stargazer are both powerful and arresting, while also suggesting and on verso titled and dated familiar shapes, such as an arched doorway, a bridge, or the head- 60 x 72 in, 152.4 x 182.9 cm board of a bed, and the circular forms are perhaps playful figures. Provenance Mead grounds these forms with an approach often seen in his Estate of the Artist mature works: wide, open expanses of canvas painted in a single Christopher Cutts Gallery, Toronto hue. In Stargazer, the intensity of the fiery red pigment, and the Private Collection, Montreal sheer quantity of it on the canvas, is striking. Although the colour Private Collection, Toronto appears to be pure, Mead often used layers of underpainting to strengthen his final chosen shade. To keep the mood of the paint- Literature ing from being too serious, Mead tempers his “power” colours Joan Murray, Ray Mead: Two Decades, The Robert McLaughlin with dabs of cobalt dancing along the upper arch, a splash of tan- Gallery, 1982, page 25 gerine and caramel in the centre of the painting, and highlights of green in the lower half of the canvas.

Estimate: $10,000 – 15,000

45 30 Charles Gagnon Charles Gagnon stated, “The real content of a painting ARCA 1934 – 2003 has nothing to do with what appears to be the painting … It’s whatever comes out of the process (of painting) which is important … Sonde vert étape 2—Feeler Green Stage 2 The quality that transcends what we think life is, you know— acrylic on canvas, on verso signed twice, titled in French what is left when nothing is left.” Sonde vert étape 2—Feeler Green and English, dated 1966 and inscribed Montreal Stage 2 seems to be an exact translation of this thought. Three 40 x 36 in, 101.6 x 91.4 cm squares, open on the left side, are seemingly boxed one within Provenance the other: a green one, a pale grey one and finally a white one. Galerie Agnès Lefort, Montreal The white one is painted flat and neutral, as if to make the tran- Private Collection, Toronto sition between the painting and the wall. The main event seems Sold sale of Canadian Post-War & Contemporary Art, to be the pale grey square, which represents “what is left when Heffel Fine Art Auction House, November 19, 2008, lot 11 nothing is left.” Paradoxically, this large expanse is rather sooth- Private Collection, Toronto ing to look at, not at all cold or detached, but warm and open. In Gagnon’s painting, a void is never empty. It is always the place of Literature enhanced consciousness, of meditation, if you want. Sometimes Philip Fry, Charles Gagnon, The Montreal Museum of he felt the need to write something on it, such as “seuls les éter- Fine Arts, 1978, page 109 nuements sont éternels—only the sneezes are eternal.” But most of the time, as in this work, they are without text. Then there is the green square that brings us back to reality. It is the colour of a lawn in front of a house, a reminder that Gagnon has always been a keen photographer of suburbia. It is important that one does not lose contact with reality at the very moment when one is tempted by transcendence. So in the middle of contemplation, a “feeler” is sent out to check if you are still with us. This green square has one more significance. It reminds us of Willem de Kooning’s green, so a “feeler” is also sent into the world of painting, which is, after all, the first reality of the painter, and in the case of Gagnon, a clear indication of his exclusively American training. Gagnon used to say that along with Jacques Hurtubise, Peter Daglish and Henry Saxe, he was a member of the New York School of Montreal. No such school ever existed, of course, as the very diversity of these painters demonstrates. But it is true that they were all in New York for a reasonable amount of time when young artists Robert Rauschenberg and Jasper Johns were detaching themselves from Abstract Expressionism. It is not an exaggeration to say that, within this group, Gagnon was the one most in tune with the New York scene at the time. The hard-edge quality, the flatness, the frontality of Sonde vert étape 2—Feeler Green Stage 2 refers to New York painting of the six- ties, or to what Clement Greenberg used to call “American-type painting.” However, then one thinks of Elsworth Kelly, who created abstract images from figuration, and one quickly dismisses this easy reference. Geometry in Gagnon’s paintings does not come from simplified nature. What is at work in his painting is rather a reflection of his photography practice and a certain taste for Zen Buddhism; as Gagnon stated, “To me, the most interesting thing about Zen was the idea of the void,” a unique kind of sensibility. From Montreal, it was indeed possible for Gagnon to look at New York with a certain ironic stance. We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay.

Estimate: $40,000 – 60,000

46 47 31 Jean Albert McEwen a distinctive and textured approach to colour. Applied with his AANFM RCA 1923 – 1999 energetic and expressive use of the paintbrush, his planes of colour have depth and verve. In this commanding oil on canvas, Élégie criblée de rose #9 broad brush-strokes of ecru are laid down in a large rectangle over oil on canvas, on verso signed, titled and dated 1987 underlayers of red, deep cobalt, yellow, ochre and pink. At the 86 x 78 in, 218.4 x 198.1 cm centre of the painting, a smaller, diaphanous rectangle appears Provenance softly in white, and rows of drippings trickle down over the lower Waddington & Gorce Inc., Toronto portion. It seems as if the painting could continue beyond the Private Collection, Toronto canvas. Vibrant and strong, Élégie criblée de rose #9 is a fine example of McEwen’s innovative and influential treatment of colour. A Jean McEwen’s Élégie criblée de rose #9—which loosely trans- painting from the same series is in the McGill University Visual lates as Pink-Speckled Elegy—is reminiscent of works from Arts Collection, donated by prominent collector Roy Heenan. Colour Field painters such as Mark Rothko, Barnett Newman and Clyfford Still. Fostered by these influences, McEwen developed Estimate: $40,000 – 60,000

48 32 Jean Albert McEwen menting with acrylic paint and hard-edge abstraction, which AANFM RCA 1923 – 1999 was prevalent at the time in both New York and Montreal. Many canvases from this period, including Sans titre, took on a format Sans titre in which a centrally placed vertical band of solid colour is bor- acrylic on canvas, signed and dated 1969 and on verso signed dered by two panels of contrasting pigments. By using this format, 30 x 30 in, 76.2 x 76.2 cm McEwen was able to explore the possibilities of hard-edge style, Provenance while also maintaining his affinity for gesture. Colour, too, was of Private Collection, Montreal the utmost importance to McEwen. As Constance Naubert-Riser explains, “McEwen has devoted his entire creative output to Literature exploring the power of colour while providing it with a structure, Constance Naubert-Riser, Jean McEwen: Colour in Depth, The all with the aim of revealing the qualities of depth inherent to Montreal Museum of Fine Arts, 1987, page 19, a similar work it.” The juxtaposition of Sans titre’s intense violet centre, solid entitled Je hais le mouvement qui déplace les lignes, in the collec- and straight as a rail, against the swirling, creamy lilacs and inky tion of the Art Gallery of Ontario, reproduced page 94 blacks dancing alongside it demonstrates his command of colour brilliantly. Between 1965 and 1969, Jean McEwen moved away from his all-over painting style and his use of oil paints, and began experi- Estimate: $12,000 – 16,000

49 33 Marcelle Ferron This lively work is from that fruitful time in her career, when her AANFM AUTO CAS QMG RCA SAAVQ SAPQ 1924 – 2001 canvas size increased and her palette knife strokes grew broader and more confident. Ferron’s Parisian period is also known for Orbite arbitraire its use of blue and white pigments, and Orbite arbitraire’s colour oil on canvas, on verso signed, titled and dated 1958 palette is a stunning example of the different shades she was 19 x 19 3/4 in, 48.3 x 50.2 cm able to achieve with these two base colours. Dark, inky tones Provenance draw us straight into the centre of the work, while the teal and Private Collection, Toronto navy strokes underneath gradually dissipate into whites high- lighted with sapphire. The gestural strokes lead us up and around Marcelle Ferron was an important member of the the canvas, and then back into the blue-black heart of the work, Quebec-based group the Automatists, who became known almost as if we are in a spiraling orbit. during the late 1940s by way of the manifesto Refus global (lot 65 in this sale) and the international status of their leader, Estimate: $25,000 – 35,000 Paul-Émile Borduas. Although she spent most of her life in Quebec, Ferron also lived in Paris, from 1953 to 1966.

50 34 Marcelle Ferron yellow, blue, purple, red and black are offset by large planes of AANFM AUTO CAS QMG RCA SAAVQ SAPQ 1924 – 2001 white in this compelling structure of colour. Caprican was painted in 1959, during her Parisian period (1953 to 1966), when she Caprican began experimenting with the very materiality of her medium. oil on canvas, signed and dated 1959 and on verso Laid down in thick swoops, her impastos reveal the grainy texture signed, titled and dated of the paint that she would mix herself from pure pigments. In art 9 1/2 x 7 1/2 in, 24.1 x 19 cm critic Robert Enright’s words, her paintings “have an irresistible Provenance physical presence and an equally compelling rhythm.” Highly Private Collection, Montreal dynamic and engaging, Caprican is an emblematic piece from her best and most coveted period. Ferron was a signatory of the Literature 1948 Refus global manifesto and one of the leading figures of the Robert Enright, Marcelle Ferron: Monograph, Galerie Simon Blais, Automatist movement. Throughout her education, she worked 2008, page 13 under some of the most significant artists in Canadian art history, such as Jean Paul Lemieux and Paul-Émile Borduas. This oil on canvas by Marcelle Ferron is a testament to her understanding of rhythm and composition. Strokes of bright Estimate: $10,000 – 15,000

51 35 Léon Bellefleur Pont de l’Arc was painted, Bellefleur was participating frequently CAS PY QMG 1910 – 2007 in exhibitions both in Canada and internationally, including the Bienal de São Paulo in 1951 and 1953, and the Guggenheim Pont de l’Arc International Exhibition in New York in 1960. He switched from oil on canvas, signed and dated 1960 using a brush to a spatula in 1957, and Pont de l’Arc beautifully and on verso initialed, titled and dated illustrates the “faceted style” of painting that arose from this 18 x 14 1/2 in, 45.7 x 36.8 cm change: a new visual language of rectangular shapes and hard Provenance lines, sliding effects and a linear organization of the composi- Galerie Jean-Pierre Valentin, Montreal tion. Bellefleur’s fascination with automatism and its use of the Private Collection, Toronto gesture generated from the unconscious can still be seen within this organized construction in the spontaneous patches of colour, In 1960 and 1961, Montreal-based abstractionist Léon both applied and revealed by the spatula. The resulting image is Bellefleur was living in France, thanks to a contract with Galerie a delightful balance between improvisation and structure. Dresdnere in Montreal. He had spent time in Europe previously, exploring his interest in the work of the Surrealists and the cre- Estimate: $10,000 – 15,000 ative subconscious as a source of inspiration. By the time

52 36 Rita Letendre Rita Letendre was first introduced to Paul-Émile Borduas ARCA OC QMG 1928 – and the Automatists while still a student at l’École des beaux-arts in Montreal. Although advised by her professors that the Auto- Quidam matists were troublemakers and abstraction was inconsequen- oil on linen, signed and dated 1959 tial, Letendre was intrigued by their philosophies and began and on verso signed twice, titled and dated bringing canvases to Borduas to be critiqued. Disillusioned with 20 x 32 in, 50.8 x 81.3 cm the traditional methods of teaching, she soon dropped out of art Provenance school and began painting and exhibiting with the Automatists. Private Collection, Montreal By 1959, she was fully dedicated to abstraction and was produc- By descent to a Private Collection, Ontario ing dynamic and self-assured canvases. With a fervent handling Private Collection, Toronto of the painting knife and a simple palette, Letendre has created in Quidam a lyrical composition that is both tactile and expressive. Letendre’s forms struggle between the foreground and the background; tensions are built amid space and movement. It was compositions such as Quidam that earned an invitation for Letendre to exhibit in the 1959 Canadian Biennial. Held at the National Gallery of Canada, this exhibition solidified Letendre’s reputation as an artist who was current and innovative.

Estimate: $30,000 – 50,000

53 37 Jean Paul Lemieux La petite fille is a classic canvas from Lemieux’s body of CC QMG RCA 1904 – 1990 work dealing with a single figure either in a landscape background or, as here, in a simplified interior. Essentially these La petite fille figures are symbolic of the human being’s place in the universe, oil on canvas, signed and dated 1970 and are replete with psychological implications. Lemieux scru- and on verso signed and titled tinizes each subject with a penetrating eye. He reduced the 48 x 27 3/4 in, 121.9 x 70.5 cm bodies of his people to simple shapes, and their faces to the most Provenance basic details of their features. He did not go in for the emotion- Galerie Dresdnere, Toronto, 1986 ally demonstrative, but took a detached view and searched for subtleties. The experience of solitude is a recurring theme—the Literature kind of solitude that contains in it an affirmation of individuality. Guy Robert, Lemieux, 1975, page 240 Lemieux did not reveal too much about this young girl, keeping a certain intriguing ambiguity. She appears self-possessed, sitting I paint because I like to paint. I have no theories. patiently for the artist, and her crossed hands and feet show a I try to express in my landscapes and characters the demure demeanour. Her simple and well groomed appearance solitude in which we all live and, in every painting, and direct gaze show confidence, yet in her face are subtle tones the inner world of my memories. The surroundings of wistfulness and, emphasized by her very slender, delicate neck, in which I find myself are only of interest because vulnerability. they allow me to paint my inner world. Lemieux’s work was generally known for its subtle colour —JEAN PAUL LEMIEUX, 1967 tonalities, but La petite fille is radiantly colourful, making quite an impact with its rich golden yellow and red backdrop. His surfaces are rich and modulated, with the layering of the brushwork in the yellow revealing different tones, adding to the glowing effect. The dark dress of the figure strongly contrasts with the hot hues of floor and wall, which act to propel the figure forward. Formally, the figure is a flattened vertical against two horizontal colour- field planes. La petite fille is dated 1970, a time when Lemieux’s prominence in the art world was well established. In 1966 he was in the group show Chefs-d’oeuvre de Montréal, which toured seven Amer- ican cities, and the Art Gallery of London, Ontario, mounted his first retrospective. The following year he was included in the National Gallery of Canada’s important exhibition Three Hundred Years of Canadian Art, and a retrospective began at the Montreal Museum of Fine Arts that traveled to the Musée du Québec and the National Gallery of Canada. The accolades continued with inclusions in museum shows, the publication of books and a 1969 National Film Board documentary, Québec en silence. Lemieux’s paintings emerged from a time in Quebec when the art world had become increasingly polarized between the figurative and the abstract. Lemieux chose the figurative, and when he transitioned into a more simplified expression of the figure and landscape in the 1950s, he became renowned for his unique and compelling imagery. His works are a singular expression of his region and its people, but in their penetrating consideration of the human condition, they are universal. La petite fille, with its delicate psychological atmospheres and painterly prowess, is a prime example of this.

Estimate: $100,000 – 150,000

54 55 38 Jean Paul Lemieux Jean Paul Lemieux is known for his solitary figures, often CC QMG RCA 1904 – 1990 placed in front of immense, horizontal landscapes. In this painting, a woman stands in front of a wintry backdrop, bundled in Sans titre a heavy woolen coat and a toque. The slight blush on her cold oil on board, signed and on verso cheeks and her red sweater add the only colours that break the certified by Galerie Valentin, #A20212 monochrome of the winter landscape. Unlike the passive figures 35 7/8 x 42 1/4 in, 91.1 x 107.3 cm in Lemieux’s earlier paintings, this woman meets the viewer’s Provenance eyes with a subtle expression of resignation, perhaps directed Private Collection, Montreal towards the long winter. Despite this, her position in the foreground makes her appear to pull forward from the landscape and encroach into the viewer’s space. Is she attempting to draw us in? Or is she warning us against the chill of a Canadian winter? Like many of Lemieux’s works—and the man himself—this painting is sensitive and contemplative and, perhaps, a touch melancholic. She is a solitary being in a large world, watching the movement of time—in effect, a portrait of Lemieux’s inner self.

Estimate: $60,000 – 80,000

56 39 Jean-Philippe Dallaire Jean-Philippe Dallaire had a diverse education and career, QMG 1916 – 1965 which is perhaps why his art is so unique and difficult to catego- rize. He studied at the Central Technical School in Toronto, the Portrait de femme École des beaux-arts de Montréal, and the Ateliers d’art sacré and oil on canvas, signed and dated 1962 and on verso Académie André Lhote in Paris, among others. Professionally, he signed, titled, dated and inscribed Vence AM worked as a mural painter, draughtsman, film-strip illustrator, 28 3/4 x 23 1/2 in, 73 x 59.7 cm teacher and tapestry designer. Provenance Portrait de femme is a delightful example from Dallaire’s final Dominion Gallery, Montreal years, when he was living in Vence, France. His portraits from this Galerie Bernard Desroches, Montreal period are often characterized by their flattened planes, fractured Private Collection, Montreal Cubist elements and simplified backgrounds. Less Picasso-esque in its influence than L’institutrice, a similar work in the collection Literature of the Musée d’art contemporain de Montréal, Portrait de femme Jean Dallaire, Musée d’art contemporain and Musée du Québec, depicts an elegant beauty with her elongated neck, teardrop ear- 1979, a similar work entitled L’institutrice, in the collection of rings and shapely, organic surroundings. The soft, muted colours the Musée d’art contemporain de Montréal, listed catalogue enhance her stately presence in the centre of the canvas, which is #17, reproduced, unpaginated carefully balanced on each side by vertical contours. Guy Robert, Dallaire ou l’oeil panique, 1980, listed page 251, reproduced page 141 Estimate: $35,000 – 55,000

57 40 Alfred Pellan This rare work dated 1942 is a fine example of the still lifes CAS OC PY QMG RCA 1906 – 1988 inspired by Cubism and Surrealism made by prominent Canadian painter Alfred Pellan in the 1930s and early 1940s. Figurative Figurative Abstraction Abstraction, a seemingly contradictory title, affirms the artist’s mixed media on paper, signed and dated 1942 and on verso iconoclastic approach to painting, one that combined elements signed, dated September 1942 and inscribed Montreal / essaie of originality and tradition. Pellan overtly condemned academi- pour murarale [sic] / d’après un surréaliste / 3914 Jeanne Mance cism and rejected its dogmas. Preoccupied with preserving his 9 1/8 x 13 in, 23.2 x 33 cm own artistic individuality, he rejected the constraints imposed Provenance by a strict obedience to contemporary schools or movements. Galerie L’Harmattan Inc., Baie-Saint-Paul, Quebec While undoubtedly modern, he never embraced the radical idea Private Collection, Toronto of tabula rasa and always conceived his artistic production in line with a larger pictorial tradition. His artistic ideal was the refusal of all limitations. A number of similar still lifes were included in an important exhibition held at the Musée de la Province de Québec and the Montreal Art Association in 1940. These works challenged the conservative taste of numerous visitors, but were well received by informed commentators and artists, who found in them a much welcomed input of modern ideas into the local artistic scene.

Estimate: $10,000 – 15,000

58 41 Oscar Cahén Oscar Cahén’s importance as an illustrator in the history CGP CSGA CSPWC OSA P11 1915 – 1956 of Canada’s graphic arts cannot be overstated. Iris Nowell wrote, “His illustrations were admired for their sophistication, joie de Machine vivre, power and humour. More potently, they introduced a new watercolour and ink on paper, signed and dated 1952 standard of illustration in Canada.” His success in advertising, 22 1/2 x 37 3/4 in, 57.1 x 95.9 cm combined with his background at the Dresden Art Academy and Provenance the Rotter School of Advertising Art in Prague, was the founda- Cahén Archives, Vancouver tion of the works for which he is best known, those completed Drabinsky Gallery, Toronto between 1950 and his untimely death in 1956. Machine is a pow- Granville Fine Art, Vancouver erful image from Cahén’s pre–Painters Eleven oeuvre. Shapes Private Collection, Calgary and forms that would become predominant in his paintings— crescents, ovals and talons—are beginning to emerge. A heart of Literature pink-red, a colour favoured by Cahén, radiates on the left, almost David Burnett, Oscar Cahén, Art Gallery of Ontario, 1983, encased by inky forms. Thin crescent-like spines separate the reproduced page 49 painting into thirds, each beautifully balanced by similar shapes Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, echoed throughout the work. Cahén was proficient in a variety 2011, page 136 of media, and this large work on paper is an excellent example Exhibited of his skill and technique using watercolour and ink; his talent Art Gallery of Ontario, Toronto, Oscar Cahén, December 16, as an illustrator shines through. 1983 – February 12, 1984, traveling in 1984 to the Memorial University Art Gallery, St. John’s; the Art Gallery of Windsor; Estimate: $20,000 – 30,000 the Edmonton Art Gallery; and the Winnipeg Art Gallery

59 42 Lise Gervais kind of experimentation. Her swathes of colour—black, white, QMG 1933 – 1998 saffron and burgundy—are carefully constructed using a palette knife and in many places reveal the texture of the canvas. Gervais Un éclair a jailli manipulates these vibrant colours expertly in smooth impastos oil on canvas, signed and dated 1975 to create a highly dynamic composition. Gestural sweeps of red, and on verso signed, titled and dated yellow and black radiate from an off-centre point, as if erupting 22 x 22 in, 55.9 x 55.9 cm from the canvas, and the brilliant white planes bring the whole Provenance composition together. Gervais’s rapid ascent in the Canadian Private Collection, Toronto art scene led her to teaching positions at Montreal’s École des beaux-arts, Concordia University and l’Université du Québec à Although too young to be a signatory of their 1948 Refus Montreal. Examples of her work can be found in the collections of global manifesto, Lise Gervais was an ardent devotee of the major institutions such as the Montreal Museum of Fine Arts, the Automatists. This group’s expressive and instinctive use of brush- National Gallery of Canada and the University of Toronto. strokes especially appealed to her personal affinity for texture and materiality. This 1975 oil on canvas is a fine example of this Estimate: $12,000 – 16,000

60 43 Rita Letendre characteristic of her paintings from the early 1960s. Dominated ARCA OC QMG 1928 – by thick black knife strokes, the hot mustard pigment enters as a relief, surging into the darkness and creating a beak-like form in Sirius its wake. As Roald Nasgaard explains, Letendre created a “sense oil on canvas, signed and dated 1963 and on verso of turbulent drama … intensified by brighter colours pushing, as if signed, titled, dated and inscribed Paris seeking liberation, against masses of black.” Sirius is energized by 18 x 21 3/4 in, 45.7 x 55.2 cm the broad, confident swathes of paint dancing across the surface Provenance and into each corner of the canvas, expressing Letendre’s unique Galerie Camille Hébert, Montreal painterly language. Mentored by Paul-Émile Borduas in the Private Collection, Montreal 1950s and associated with the revolutionary Quebec group the Private Collection, Toronto Automatists, Letendre quickly found a passion for bold, expressionist abstraction. Developing her skills and focusing her ardour Literature for painting throughout this decade, by 1960 Letendre had Roald Nasgaard, Abstract Painting in Canada, Art Gallery established herself as a unique and self-assured artist. Sirius of Nova Scotia, 2007, page 180 is a powerful example from this highly sought-after period in Letendre’s oeuvre. Rita Letendre spent most of 1962 and 1963 traveling in Rome, Israel and Paris, returning to Montreal in the fall of Estimate: $15,000 – 20,000 1963. Sirius was completed during this Parisian sojourn and is

61 44 Lise Gervais Her work was acclaimed by critics and handled by prestigious QMG 1933 – 1998 dealers such as Denyse Delrue in Montreal and Walter Moos in Toronto. Puck was painted in 1965, at the height of Gervais’s Puck career. The composition is divided into large interlocking fields of oil on canvas, signed and dated 1965 richly textured paint, and the palette of colours—which features and on verso signed and titled on the gallery label different hues of yellow with orange in contrast with black— 18 x 20 in, 45.7 x 50.8 cm makes this work an iconic example of some of the best paintings Provenance produced by the artist in this exhilarating decade. This excep- Galerie de Montréal tional piece was first acquired from a solo exhibition held in 1970 Private Collection, Montreal at Galerie de Montréal, a gallery that Gervais and her then part- ner Yves Lasnier had opened two years earlier on Mackay Street The young and remarkably talented abstract painter Lise near the corner of Sherbrooke Street West, and is now being Gervais found herself at the forefront of the Post-Automatist offered at auction for the first time. artistic scene when she received a prestigious award at the 1961 Annual Spring Exhibition of the Montreal Museum of Fine Arts. Estimate: $8,000 – 10,000

62 45 Raymond John Mead assignment as a flying instructor, headquartered in Hamilton, CGP CSGA P11 1921 – 1998 Ontario, for the war’s duration. His misfortune became Cana- da’s good fortune when, after the war ended, he chose to settle Melville Island in Ontario permanently. With the mentorship of his friend and oil on canvas, signed and dated 1960 fellow Hamiltonian Hortense Gordon, Mead began to participate and on verso titled and inscribed PS in the Art Gallery of Hamilton’s annual exhibitions after 1947, 50 x 48 in, 127 x 121.9 cm and he joined the group of artists who became known as Painters Provenance Eleven. It is not often that a Mead painting from the period in By descent to the present Private Collection, Hamilton which Melville Island was created comes to light. Consistent with his earliest abstract works, Mead’s starting point is the landscape, From early childhood Ray Mead exhibited a natural talent and his palette and bold brush-strokes are suggestive of organic for visual art and, encouraged by his family, he attended the growth, accented, if we dare to imagine it, by a glowing red Slade School of Fine Art in London, graduating at the age of 18. maple leaf. Shortly thereafter he joined the Royal Air Force, and an injury from a crash landing during his service in World War II led to his Estimate: $30,000 – 50,000

63 46 Sir Terry Frost Heath, a fellow POW. After returning to England, Frost made the 1915 – 2003 British fortunate choice of moving to St. Ives in Cornwall, where many of England’s most celebrated twentieth-century artists spent resi- Untitled dencies. There and at the Camberwell School of Arts and Crafts, acrylic and collage on canvas, on verso dated September 1975, in London, Frost studied under and was encouraged by major art- March 1976, and March 1977 and inscribed Hang on diamond ists of the post-war era, including Victor Pasmore, Ben Nicholson, 57 1/4 x 57 1/4 in, 145.4 x 145.4 cm Patrick Heron and sculptor Barbara Hepworth, for whom he was Literature a studio assistant in 1951. His first solo exhibition, at the Leices- Sir Terry Frost, Tate Museum, http://www.tate.org.uk/art/artists/ ter Galleries, London, in 1952, was the beginning of a long and sir-terry-frost-1126, accessed August 15, 2015 successful career, culminating with a retrospective at the Royal Academy of Arts in 2000. Exuberant and joyful, this untitled A virtual stroll through the 62 works of art by Sir Terry work is typical of Frost’s paintings from the 1970s, incorporating Frost in the collection of Britain’s Tate Museum provides us with the half-moon motifs and brilliant colour range for which he is an overview of this influential painter’s output from the early best recognized. 1950s until the late 1990s. Ironically, his first formal studies began when, as a prisoner of war in 1943, he met artist Adrian Estimate: $12,000 – 16,000

64 47 William Ronald The youngest member of Toronto’s Painters Eleven group, P11 RCA 1926 – 1998 William Ronald dived into the passion and turbulence of the New York scene when he moved there in 1954. He met estab- The Baron lished Abstract Expressionist painters such as Franz Kline and oil on canvas, signed and dated 1961 made connections with important figures in the art world. In an and on verso titled and inscribed #614 / R-272 ARTnews review of a Painters Eleven exhibition at the Riverside 48 x 50 in, 121.9 x 127 cm Museum in 1956, Lawrence Campbell called Ronald “the most Provenance sensational of the group.” This work’s title of The Baron seems an Private Collection, Toronto apt choice, as it exemplifies the strength and solidity of the artist’s Sold sale of Canadian Post-War & Contemporary Art, Heffel Fine abstract images from the early 1960s. A fine example of Ronald’s Art Auction House, September 29, 2007, lot 44 concentration on an emphatic central focus, this painting, with Private Collection, Toronto its rich reds, striking blue and darker contrasting hues, displays a more subtle play of textures and forms than do his more expres- Literature sionist canvases of the mid-1950s. The Baron is reminiscent of Dennis Reid, Toronto Painting: 1953 – 1965, National Gallery of two works in the 1972 National Gallery of Canada exhibition Canada, 1972, similar works Gypsy reproduced front cover and Toronto Painting: 1953 – 1965: Gypsy (1959), the catalogue’s Jungle reproduced catalogue #43 cover piece, and Jungle (1961), in the collection of the Montreal Roald Nasgaard, Abstract Painting in Canada, Art Gallery of Museum of Fine Arts. Nova Scotia, 2007, page 109

Estimate: $25,000 – 35,000

65 48 Alfred Pellan One is reminded of famous paintings by René Magritte in CAS OC PY QMG RCA 1906 – 1988 which you see things depicted in a frame, but subtitled with a word that makes you doubt the identity of what you see. The most La tour de Babel famous example is probably Ceci n’est pas une pipe. The real title mixed media on board, signed and dated 1959 of the painting is La trahison des images (The Treachery of Images, and on verso signed, titled and inscribed 1928 – 1929), written below an unequivocal representation of No 361 and 41 = pounds / livres a pipe. Of course, Magritte was often reproached for this. He 56 x 38 in, 142.2 x 96.5 cm defended himself, saying, “Could you stuff my pipe? No, it’s just a Provenance representation, is it not? So if I had written on my picture ‘This is Private Collection a pipe,’ I’d have been lying!” But, closer to Pellan’s presentation and intention, I believe, one should think, for instance, of another Literature Magritte painting, La cléf des songes from 1927, where the image Harry Torczyner, Magritte: Ideas and Images, 1979, page 71 of a bag is accompanied with the phrase le ciel; of a penknife, with the word l’oiseau; and of a leaf, with the words la table. Only the It is written in Genesis 11:1–4 that “At first, the people of image of the sponge is subtitled l’éponge. If such a linguistic sys- the whole world had only one language and used the same tem was applied in real life, it is clear that such a tower, or words … They said to one another … : let’s build a city with a tower anything else for that matter, could not be built! that reaches the sky, so that we can make a name for ourselves In 1959, when Pellan painted La tour de Babel, he had been and not be scattered all over the earth.” But, as it is well known, back in Canada for a few years. He had made an attempt to live in God was not pleased by what he heard them say, as stated in France from 1953 to 1955, remembering the best experiences of Genesis 11:6: “Soon they will be able to do anything they want! his first sojourn of 14 years in France before the war. But Europe Let us go down and mix up their language so that they will not after the Second World War was no longer the open and free understand each other.” place he had known during that time. The economic situation was Alfred Pellan’s 1959 painting La tour de Babel (The Tower of bad, and competitiveness between artists spoiled the possibility Babel) is not a direct illustration of this famous Bible text, but it of contacts. No common language was developing—therefore it is certainly conveys the idea expressed in these famous verses. First, not surprising that Pellan was attracted to a subject like La tour de the verticality of the painting and its central motif in black lines Babel. Even in Quebec, the competition between the Automatists clearly suggest the ascension of the tower towards a summit. In and other painters of the avant-garde like him was not producing the centre, the right angles of the ascending lines give way to a harmonious development of modern art, of what used to be lines which look more like cracks in a wall than pure geometric called l’art vivant. Could we say then that there is a note of progression. On each side of the “tower” one sees in a cartouche nostalgia in this beautiful Pellan painting? some tools, such as a key, a hammer, pliers, an axe, a pick and We thank François-Marc Gagnon of the Gail and Stephen A. a crowbar, evidently to suggest the instruments used by the Jarislowsky Institute for Studies in Canadian Art, Concordia builders of the tower. In Babel, these names became confused University, for contributing the above essay. or unintelligible between one worker and the other—somebody would ask for pliers and get an axe instead! Estimate: $90,000 – 120,000

66 67 49 Mary Frances Pratt Mary Pratt is known for sensual and colourful depictions of CC OC RCA 1935 – her everyday world. As a mother and wife she was happy to per- form the traditional duties of caring for her family, but she did Foiled in Gold not consider that a reason to cease creating. In moments of soli- oil on canvas, signed and dated 2007 tude—when the children slept or her then husband, Christopher and on verso titled on the gallery label Pratt, was in his studio—Mary painted the simple beauty of her 20 x 30 in, 50.8 x 76.2 cm domestic surroundings, rendering ordinary objects in an extraor- Provenance dinary way, as in Foiled in Gold. She stated, “I always managed Equinox Gallery, Vancouver to think whatever experience I was having was worth something Private Collection, Vancouver, acquired from the above in 2008 wonderful.” This can be seen in the simple joy she takes through observing and painting the quotidian. Contemplating the dragon- Literature fruit placed on a piece of foil, we are struck by the luminous qual- Roy Cronin et al., Mary Pratt, Art Gallery of Nova Scotia and ity of the golden light that transforms the fruit into a luxurious The Rooms, 2013, reproduced page 112, listed page 155 food to be savoured and cherished. Pratt’s photorealism lets us Murray Whyte, “Mary Pratt: A World of Small Things,” feel the warmth of the light in the kitchen and imagine the taste Visual Arts, The Toronto Star, January 17, 2014, http://www. of the dragonfruit’s juice on the tongue. thestar.com/entertainment/visualarts/2014/01/17/mary_ The National Gallery of Canada is currently holding an exhibi- pratt_a_world_of_small_things.html, accessed August 7, 2015 tion of Mary Pratt’s work entitled Mary Pratt: This Little Painting, Exhibited Masterpiece in Focus, on now through January 4, 2016. The Rooms, St. John’s, Mary Pratt, May – September 2013, and the Art Gallery of Nova Scotia, Halifax, September 2014 – Estimate: $50,000 – 70,000 January 2015, traveling to the Art Gallery of Windsor; the McMichael Canadian Art Collection, Kleinburg; and the MacKenzie Art Gallery, Regina, 2013 – 2015

68 50 Mary Frances Pratt The Florentine was painted during the years Mary Pratt CC OC RCA 1935 – lived at Salmonier, on the Avalon Peninsula in Newfoundland, with artist Christopher Pratt and their family. She juggled being The Florentine an artist with being a wife and mother—and often turned her oil on board, signed and dated 1971 and on verso artistic attention to domestic imagery close at hand, such as the signed, titled and dated on the gallery label and inscribed 36 preparation and presentation of food. Pratt commented, “My 13 x 21 in, 33 x 53.3 cm strength is finding something where most people would find Provenance nothing.” She found beauty in the glistening light bouncing off Collection of the Artist’s mother a fish fillet lying on tinfoil, in light reflecting through jam jars or Equinox Gallery, Vancouver a glass bowl containing fruit. Here squares of sunlight illuminate Private Collection, Vancouver an exquisite tea setting of Florentine Turquoise Wedgwood bone china, strikingly contrasted with the dark table and even darker Literature background. Although no one is present, the setting collected on Roy Cronin et al., Mary Pratt, Art Gallery of Nova Scotia a tray is evidence of the timeless ceremony of two people meeting and The Rooms, 2013, page 99, reproduced page 101 over tea. The immediate impact of works such as The Florentine lies in their meticulous Realist style, but on a deeper level, comes from the human dynamic resonating from such everyday scenes, that ephemeral “something” that Pratt searched for. The National Gallery of Canada is currently holding an exhibition of Mary Pratt’s work entitled Mary Pratt: This Little Painting, Masterpiece in Focus, on now through January 4, 2016.

Estimate: $50,000 – 60,000

69 51 Alexander Colville w PC CC 1920 – 2013 Harbour acrylic polymer emulsion on board, on verso signed, titled and dated 1975 13 1/2 x 21 1/2 in, 33.4 x 54.6 cm

Provenance Galerie Pudelko, Bonn, 1976 By descent to the present Private Collection, Germany

Literature Virgil G. Hammock, “Alex Colville: la perfection dans le réalisme / Alex Colville: Perfection and Reality,” Vie des Arts, Vol. 21, No. 84, 1976, page 87, reproduced page 17 Marina Vaizey, Alex Colville: Paintings and Drawings, 1970 – 1977, Städtische Kunsthalle and Fischer Fine Art Limited, 1977, Alex Colville and Shasta on the balcony of his apartment in Berlin, 1971 Photo: © The Colville Estate listed page 31 and reproduced page 20 David Burnett, Colville, Art Gallery of Ontario, 1983, reproduced page 197, listed page 250, catalogue raisonné #105 Mark A. Cheetham, Alex Colville: The Observer Observed, everyday experiences—being intrigued by the freighter he saw in 1994, page 12 Halifax Harbour in 1975 and wanting to paint his own Land Rover Exhibited (“something that I have been wanting to do since I bought the Gemeentemuseum, Arnhem, Alex Colville: Paintings and car,” he reported)—the work is not content to have us rest on the Drawings, 1970 – 1977, March 7 – April 10, 1977, traveling precisely rendered surfaces that we are invited to contemplate. in 1977 to Städtische Kunsthalle, Düsseldorf and Fischer Meticulously composed on geometrical principles of harmony Fine Art Limited, London, catalogue #13 and balance, it is rendered with Colville’s characteristically pre- Art Gallery of Ontario, Toronto, Alex Colville, A Retrospective, cise Pointillist technique. But Colville is always a rigorous editor, July 22 – September 18, 1983, traveling to Museum Ludwig, showing us just enough to create questions in our minds. For Cologne; Dalhousie Art Gallery, Halifax; Staatliche Kunsthalle, example, while the family dog Shasta’s coat is rendered in full Berlin; The Montreal Museum of Fine Arts; and the Vancouver and loving detail, we cannot read the gauges on the Land Rover’s Art Gallery, 1983 – 1984, catalogue #105 dash. Colville loved cars. He provides full detail about this one’s exterior, perhaps so that we can compare it with the technology By any measure—critical acclaim, national and international of the nearby boat. The visual detail at the bow of this ship sug- recognition, work in prominent collections, economic achieve- gests waves and thus movement. But is the car moving or still? ment—Alex Colville was one of the most successful and widely We do not know. admired artists ever to work in Canada. His posthumous retro- While Colville’s paintings typically circle around the quotid- spective at the Art Gallery of Ontario and the National Gallery ian experiences that he believed were the most important in our of Canada (2014 – 2015) witnessed the enduring popularity and lives, he was careful not to make them too personal or idiosyn- integrity of his work. It is in part because Colville kept himself cratic, not to reveal much about himself. The driver here is clearly consciously apart from the major movements in the art world based on Colville’s appearance, but Harbour is not a self-portrait since the 1950s that his paintings are readily accessible. While in the conventional sense. The dog’s gaze in the direction of the they may seem simple, even local and unpretentious, they are the freighter that we as viewers are invited to look at appears in sharp product of rigorous planning and skill. Colville’s gift, then, was to and enigmatic contrast to the driver’s pointed stare towards us. let us into his work easily but also to ask us to reflect on its intrica- Here Colville wants us to think beyond the surfaces of his paint- cies and through them, ultimately return to existential questions ing, beyond its obvious details, so that we may reflect on large, that are more about ourselves in the world than about his art. existential questions such as the nature of human versus animal “An artist constructs a world in each work,” he said to a university perception or the relationships we have with the machines we audience in 1988. “It is a constructive, and in some sense car- build. It is on this plane that we discover the magic in his Realism. pented and imagined [process], and in a certain sense an unreal We thank Mark Cheetham, Professor of Art History at the world. When a person looks at it, the receiving of it involves yet University of Toronto, for contributing the above essay. another construction.” This work is in the original frame made by Colville. Harbour brilliantly shows both the directness and mystery typical of Colville’s strongest compositions. A response to Estimate: $500,000 – 700,000

70 71 52 Alexander Colville PC CC 1920 – 2013 Study for The River Spree acrylic polymer emulsion and pen and ink on paper, signed and dated 1971 and on verso titled on a gallery label 11 7/8 x 6 3/4 in, 30.2 x 17.1 cm

Provenance Galerie Pudelko, Bonn, 1977 By descent to the present Private Collection, Germany

Literature Marina Vaizey, Alex Colville: Paintings and Drawings, 1970 – 1977, Städtische Kunsthalle and Fischer Fine Art Limited, 1977, listed page 32 and reproduced page 16 David Burnett, Colville, Art Gallery of Ontario, 1983, the 1971 acrylic in the collection of the Museum moderner Kunst, Vienna, reproduced page 172, and studies for this painting reproduced pages 171 and 218 Mark A. Cheetham, Alex Colville: The Observer Observed, 1994, page 104

Exhibited Gemeentemuseum, Arnhem, Alex Colville: Paintings and Draw- ings, 1970 – 1977, March 7 – April 10, 1977, traveling in 1977 to Städtische Kunsthalle, Düsseldorf and Fischer Fine Art Limited, London, catalogue #25

This fine mixed media work is a study for the 1971 acrylic painting The River Spree in the collection of the Museum moderner Kunst in Vienna, produced during Alex Colville’s 1971 stay in Berlin. The artist’s works often depicted the relationship between animals and people, and in this image Colville’s wife Rhoda walks their terrier Shasta along the river’s edge. The River Spree cut through what was then East and West Berlin, and the Berlin Wall, still in place in 1971, ran along its bank. Colville’s work often contains undercurrents of potent meaning. In reference to the acrylic The River Spree, Mark Cheetham writes that “Colville, who we know, dislikes apolitical people, trusts that we will catch the drift of the painting, the sense that apparent calm and quotidian activity may mask a volatile political situation.” Colville saw animals as inherently pure and good, and in this close-up study of woman and dog, Shasta embodies an innocence that contrasts with the charged situation in Berlin at the time.

Estimate: $20,000 – 30,000

72 53 Christopher Pratt The art of Christopher Pratt, a quintessential Newfoundland ARCA CSGA OC 1935 – artist, reflects the land and the people of that place. Although we are accustomed to his vast landscapes and scenes of coastal life, Sheep, Argentia #1 depictions of animals are rare in Pratt’s oeuvre. Referring to his mixed media on paper, signed and dated 1993 1971 silkscreen The Sheep, Pratt stated, “Sheep are omnipresent and on verso titled on the gallery labels on the Southern Avalon: they wander the headlands and graze in 6 3/4 x 10 5/8 in, 17.1 x 27 cm meadows on the river flats; they lie by fences and against small Provenance red barns … to me they mean St. Mary’s Bay.” Contrary to this Dominion Gallery, Montreal description, this later work, Sheep, Argentia #1, shows an ewe in Mira Godard Gallery, Toronto a grey interior—perhaps an abandoned army bunker—facing to Estate of Michel Moreault, Montreal the side with a steady gaze. Argentia, on the southern Avalon Peninsula near St. Mary’s Bay, was a US military base from 1941 Literature to 1994. When the Americans arrived, the residents of the town Christopher Pratt, Christopher Pratt: Personal Reflections were forced to relocate, and the base had what Pratt described on a Life in Art, 1995, page 69 as an “almost ghetto-like” atmosphere, with an “indifference to Josée Drouin-Brisebois, Christopher Pratt: All My Own Work, human values.” Perhaps the recumbent sheep, no longer grazing National Gallery of Canada, 2005, page 56 in the untamed landscape of the peninsula, represents the artist’s comment on this situation.

Estimate: $4,000 – 6,000

73 54 Alexander Colville PC CC 1920 – 2013 Study for After Swimming ink and watercolour on paper, signed and dated 18 June 1955 12 1/4 x 7 1/4 in, 31.1 x 18.4 cm

Provenance Private Collection

Literature Helen J. Dow, The Art of Alex Colville, 1972, the 1955 serigraph After Swim- ming reproduced page 74 David Burnett, Colville, Art Gallery of Ontario, 1983, page 193, the 1955 serigraph After Swimming reproduced page 195

This evocative work is the study for the 1955 serigraph After Swimming, which was produced in a small edition of 27. It is one of a group of images characterized by their minimal details and settings, their subject a man and a woman. David Burnett writes, “In these works the sense of communica- tion is brought about through a subtle and gentle stating of events, bearing on the intimate elements of a relationship. Their expressive capacity is found in the warmth and gentleness of slight gestures and in an openness and familiarity that relies on mutual trust and respect.” In Study for After Swimming, the bathers are Alex Colville and his wife Rhoda, whose loving relationship embodied the values that formed the core of his life. In this fine study, Colville emphasized the volumetric solidity of the figures. His reduction of the scene to its primary elements—sky, water, sand and the couple—gives it more impact, and draws our attention to the tenderness of Colville’s gesture in drawing the towel over Rhoda’s shoulders. It is a rare and classic 1950s image from Colville’s oeuvre.

Estimate: $10,000 – 15,000

74 55 Betty Roodish Goodwin Betty Goodwin’s elegant images are instantly recogniz- CPE 1923 – 2008 able as hers alone, being unlike those of any other Canadian artist of her generation. Goodwin was self-taught, and her conventional Swimmer early still lifes and paintings of Montreal scenes do not hint at the mixed media on vellum paper, signed and dated 1984 contemplative, profound and moving art maker that she would and on verso titled and dated on the gallery label become by the late 1960s. Her work began to evolve under the 16 1/4 x 22 1/4 in, 41.3 x 56.5 cm expert tutelage of Yves Gaucher, then teaching printmaking at Provenance Sir George Williams University (Concordia University). Later her Galerie René Blouin, Montreal admiration for the work of German sculptor Joseph Beuys, whom Estate of Michel Moreault, Montreal she met in the mid-1970s, made her increasingly conscious of the power and significance of materials usage, and she began to Literature produce large mixed media works as well as a significant body of Sandra Paikowsky, Betty Goodwin: Passages, Concordia Art etchings and sculpture. Goodwin’s Swimmers series was a major Gallery, 1986, page 5 preoccupation throughout the 1980s, in both small and monumental formats. Sandra Paikowsky’s comments apply well to this sensitive drawing on a semi-transparent Mylar ground: “Her ability to coax and cosset an aesthetic meaning from the surface is paramount … It is her exquisite sensibility to the tactile that gives her work its classical and paradoxical tension.”

Estimate: $4,000 – 6,000

75 56 Christopher Pratt Pratt’s work is systematic, as precise in its rendering as the ARCA CSGA OC 1935 – artist is in observing his signature themes, especially the simple architectural forms of his native Newfoundland. For Pratt, In the Heat of Summer buildings like the ones we see here are imbued with personality oil on board, signed and dated 1990 and on verso and emotion. They are, in effect, human. He reports in an inter- signed, titled and dated September 1990 and titled view conducted by the National Gallery of Canada that “buildings and dated on the National Gallery of Canada label have personalities that resonate with me,” adding, “I tend to 40 x 90 in, 101.6 x 228.6 cm remember incidents in my life in terms of where they happened.” Provenance Characteristically direct as such statements are, we should never Mira Godard Gallery, Toronto assume that Pratt’s paintings or drawings are as simple as they seem. Seeing studies and a final work together allows us to draw Literature out the visual intricacies and mysteries of Pratt’s memorable Christopher Pratt, Christopher Pratt: Personal Reflections view of architecture. on a Life in Art, 1995, reproduced page 179 In the Heat of Summer, Summer Veranda—Study for In the Josée Drouin-Brisebois, Christopher Pratt: All My Own Work, Heat of Summer (lot 57) and Night Veranda—Study for The Island National Gallery of Canada, 2005, listed page 130 and (lot 58), explore one of Pratt’s favourite subjects, the outsides reproduced page 25 or the faces of buildings. He works from memory rather than Tom Smart, Christopher Pratt: Six Decades, Art Gallery of from photographs. In fact, we might say that his work is anti- Sudbury, 2013, reproduced page 83 photographic in the sense that he excludes much more than he Exhibited conveys visually. While we might be tempted to say that these National Gallery of Canada, Ottawa, Christopher Pratt: All My Own three works have the same subject, the subtle differences that we Work, September 30, 2005 – January 8, 2006, traveling to the can observe across the paintings are of greater import and are Art Gallery of Nova Scotia, Halifax; The Rooms, St. John’s; the closer to what Pratt aims to convey. Winnipeg Art Gallery; and the Musée national des beaux-arts For example, think of scale. In the Heat of Summer is very large, du Québec, Quebec City, 2006 – 2007 which magnifies its visual impact and thus allows it to deliver a different range of feelings than do the smaller works. Yet all three Christopher Pratt is one of Canada’s most honoured and are delicately and subtly rendered. Think too of colour: seen on admired artists. The comprehensive exhibition of his paintings, its own, In the Heat of Summer mirrors its title with its saturated drawings and prints that toured Canada in 2005 – 2007—marking reds, purples and browns. The shadows are bold, suggesting a the artist’s 70th birthday—was testimony to the ongoing impor- strong sun. In the study for this large painting, however, Pratt tance of his work and to his continuing creativity. The paintings In withholds colour to focus on light and shade. In Night Veranda, the Heat of Summer and The Island were included in that exhibition. the “same” building still “speaks” in these bold contrasts, sug- Here again we have the opportunity to see one of these magnifi- gesting that it is the play of shadows, rather than the time of day, cent works and to ponder its evolution from preparatory studies. that is for Pratt most characteristic of this structure and spot.

76 57

The apparent simplicity of Pratt’s paintings leads to their 58 Christopher Pratt enigmatic qualities. Though clearly close relatives, the three ARCA CSGA OC 1935 – works here do differ in the fullness of visual content that Pratt Night Veranda—Study for The Island provides. In the Heat of Summer has a more fully realized watercolour and coloured pencil on paper, personality, one suggested by the inclusion of a light socket over signed and dated 4, 1989 and on verso titled the prominent doorway, a socket that, we notice, has no bulb. and dated 1990 on the gallery label We thank Mark Cheetham, Professor of Art History at the 5 x 11 1/4 in, 12.7 x 28.6 cm University of Toronto, for contributing the above essay. Provenance Estimate: $125,000 – 175,000 Mira Godard Gallery, Toronto

Literature Josée Drouin-Brisebois, Christopher Pratt: All My Own Work, 57 Christopher Pratt National Gallery of Canada, 2005, the 1989 oil on canvas ARCA CSGA OC 1935 – entitled The Island reproduced page 24 Tom Smart, Christopher Pratt: Six Decades, Art Gallery of Sudbury, Summer Veranda—Study for 2013, the 1989 oil on canvas entitled The Island reproduced In the Heat of Summer page 82 watercolour and coloured pencil on paper, signed and dated 4, 1989 and on verso titled Estimate: $4,000 – 6,000 and dated on the gallery label 5 x 11 1/4 in, 12.7 x 28.6 cm

Provenance Mira Godard Gallery, Toronto

Estimate: $4,000 – 6,000

80 59 Jean Paul Riopelle But on the other hand, Sans titre, bearing no suggestion of AUTO CAS OC QMG RCA SCA 1923 – 2002 depth, seems to contradict the very idea of landscape. Here everything is on a flat plane and has a rather tactile feeling instead of Sans titre an optic one—meaning that we are inclined to touch what he has oil on canvas, signed and on verso signed, dated circa 1956 put in front of us. The French philosopher Gilles Deleuze and the on various labels, inscribed with the Laing Inventory #1459 twice psychotherapist Félix Guattari proposed to contrast what they and Laing indistinctly on a partial Arthur Lénars & Cie, Agents en called a “haptic space,” which can be visual and tactile at the douane, Paris, shipping label and stamped Jules Loeb Collection same time, to an “optic space,” which is exclusively visual. The No. 71 and with the Douane (customs) stamp, 1956 word “haptic” comes from the Greek, haptikos—able to grasp or 36 x 78 7/8 in, 91.4 x 200.3 cm perceive; from haptein—to grasp, sense, perceive. The idea of a Provenance haptic space applies very well to our Riopelle painting. One can Acquired directly from the Artist in Paris by G. Blair Laing, follow the movement of a curve here and there on the surface, as Laing Galleries, Toronto, April 1959 if he had tried to contain the dynamic of the strokes of the palette Mr. & Mrs. Jules Loeb, Lucerne, Quebec, acquired from knife inside the area of the painting. But one cannot read any hint the above June 29, 1959, then moving to Toronto of a view in perspective, as we would do in a figurative painting Marlborough-Godard, Toronto, 1979 depicting a marine scene. It is this double feature of format and tactility that defines Literature Riopelle’s painting of the 1950s, rather than the “mosaic” shal- The Mr. and Mrs. Jules Loeb Collection, National Gallery low spatial aspect due to the juxtaposition of the strokes of the of Canada, 1970 palette knife. And it is these two features that separate Riopelle Gilles Deleuze and Félix Guattari, Milles plateaux, 1980, from the American painting of the same period, which was much page 616 more visual and not bound by a specific format issued from the Yseult Riopelle, Jean Paul Riopelle Catalogue Raisonné, European tradition. One would not think to define the lines in a Volume 4, 1966 – 1971, 2014, reproduced pages 66 – 67, Jackson Pollock painting as “tactile.” On the contrary, they are catalogue #1956.124H.1956 “energy made visible.” Pollock, even though he was looking for Exhibited an intermediary between easel painting and the mural, was not National Gallery of Canada, Ottawa, The Mr. and Mrs. bound to any specific format. Jules Loeb Collection, September 1, 1970 – October 15, One could also say that these two features also detach Riopelle 1971, catalogue #40 from the Automatist tradition, which was attached to the idea of Glenbow Museum, Calgary, Riopelle: The Glory of Abstraction, a three-dimensional space and to the format of regular landscape, May 15 – August 2, 2010 especially in Paul-Émile Borduas’s works of the 1940s. Even if he did not like to be defined that way, Riopelle revealed himself as The provenance for Sans titre, painted in 1956, indicates it much more “abstract” than many of his colleagues in the Autom- was part of the collection of Mr. & Mrs. Jules Loeb. Jules and Fay atist group. In that sense, one could say that Sans titre is closer Loeb were exceptional collectors of Canadian art. They acquired to music than many non-figurative paintings, in that it includes the works of Canadian artists, from Cornelius Krieghoff to Jean movement and time in the very act of looking at the painting. Paul Riopelle. The collection attracted the attention of Pierre We thank François-Marc Gagnon of the Gail and Stephen A. Théberge, then director of the National Gallery of Canada, and Jarislowsky Institute for Studies in Canadian Art, Concordia in 1970, he put together an exhibition featuring works from the University, for contributing the above essay. renowned Loeb collection that traveled to major galleries across This work is included as an addendum to Volume 2 (1954 – Canada. 1959) in Yseult Riopelle’s online catalogue raisonné on the artist’s The Riopelle painting we are featuring now at Heffel was an work at www.riopelle.ca, catalogue #1956.124H.1956. important part of that exhibition and shows Riopelle at the peak of his creative power. The format first attracts the viewer’s atten- Estimate: $500,000 – 700,000 tion—it is elongated, but not too narrow, a little bit as a marine composition would be. A marine, as one knows, is a particular type of landscape that depicts the water’s edge, or a seascape with boats, or anything else related to the ocean and maritime life. A view of the beach with houses or people facing the sea is often elongated like this painting by Riopelle.

81 60 Jean Paul Riopelle It is important to understand why Riopelle decided to abandon AUTO CAS OC QMG RCA SCA 1923 – 2002 the brush. The palette knife is not just a tool that could reproduce (maybe less well!) what the brush was doing. A completely dif- Jour de fêtes ferent concept is at play in both instruments. A brush, especially oil on canvas, signed and dated 1958 a thin brush, gives to the painter perfect visual control of the and on verso titled and dated on a gallery label form he is painting. For instance, the thin outline that he creates 31 1/2 x 38 5/8 in, 80 x 98.1 cm between figure and background can reduce the contour of the Provenance form to almost nothing, and it then appears to detach from the Galerie Jacques Dubourg, Paris background. On the contrary, the palette knife hides what the A Corporate Collection, Toronto brush keeps under visual control. For a moment, the painter does Sold sale of Canadian Art, Joyner/Waddington’s, not see what is happening under the knife. The palette knife December 2, 2003, lot 73 introduced into the world of modern painting what Jacques Private Collection, Calgary Derrida used to recommend: “penser à ne pas voir” (to think at not seeing). Why? Because, that way, some adventures are made Literature possible. Derrida gave the example of an événement (event, occur- Yseult Riopelle, Jean Paul Riopelle Catalogue Raisonné, rence, happening). To be a real event, what is coming towards us Volume 2, 1954 – 1959, 2004, reproduced pages 296 has to be irruptive, inaugural and singular and something we do and 492, catalogue #1958.056H.1958 not see coming. An event that we see coming, that we anticipate, Jacques Derrida, Penser à ne pas voir: écrits sur les arts that we can predict, is not a real event. It is an event whose essen- du visible, 1979 – 2004, 2013, page 61 tial character of eventuality has been neutralized, stopped by Exhibited anticipation. By introducing an element of invisibility, of unpre- Svensk-Franska Konstgalleriet, Stockholm, dictability in the very process of painting with a palette knife, Riopelle 1949 – 1959, 1959 Riopelle creates an event with each stroke of his painting. The onlooker sees the result, but can participate in the “event,” Towards the end of the 1950s, Jean Paul Riopelle used the if he takes pleasure in following each stroke of painting and dis- palette knife with a greater freedom. There are still strokes that covers their movements, their strength, their superposition or show the shape of his tool, as in the blue and yellow in the upper juxtaposition, their colour, their contrast, etc. There is no need to right of this painting or in the white on the left and right, as was look here for a hidden figurative image. The “feast” mentioned his manner since 1949, when he decided to abandon the brush in the title is a “fête pour les yeux” (a feast for the eyes) and has and exclusively use the palette knife. But we also see here strokes nothing to do with an abstract transposition of a scene witnessed which seem freer, and which were obtained in smearing the paint by the artist or imagined by him. The need to look for subject in longer stretches than before. Nevertheless, the palette knife matter—“it reminds me of this … or that … ”—in an abstract paint- seems to have maintained its role of occlusion during the process ing is a bad habit. What is so great about abstraction in painting is of painting. You are never sure what the final result will be when that it has freed us from ideological programming, whether it be you apply the knife to the paint medium squeezed from the tube religious or political. As Paul-Émile Borduas used to say, “Place onto the canvas. There is always an element of surprise here—an aux mystères objectifs!” (Make way for objective mysteries!) element of indetermination—which creates a challenge for the We thank François-Marc Gagnon of the Gail and Stephen A. next stroke. It is clear that Riopelle enjoyed the process, and that Jarislowsky Institute for Studies in Canadian Art, Concordia it was not by chance that he titled this painting Jour de fêtes. All his University, for contributing the above essay. paintings had to be a “feast,” otherwise they were destroyed by the artist himself. Estimate: $150,000 – 250,000

82 83 61 Marcelle Ferron This elegant oil on paper was a gift from Marcelle Ferron to AANFM AUTO CAS QMG RCA SAAVQ SAPQ 1924 – 2001 ceramicist Claude Vermette and his wife, textile artist Mariette Rousseau-Vermette, as indicated by the dedication Aux Vermette Sans titre on the work. Both Claude and Mariette produced significant oil on paper, signed and inscribed Aux Vermette, circa 1960 public installations, and they were important forerunners of mod- 6 x 10 in, 15.2 x 25.4 cm ernism in Quebec from the 1950s and onwards. This composition Provenance is strong and dynamic. Ferron counterbalances the black and Collection of Mariette Rousseau-Vermette and Claude Vermette deep crimson in the background with large, luminous swatches By descent to the present Private Collection, Montreal of white in which faint touches of light grey and soft pink appear in transparency. Here, her use of the palette knife is lively and creates strong diagonals. Paint strokes are arranged freely—either juxtaposed or superimposed—making the eye move continually. Ferron created this piece during her time in Paris (1953 to 1966), which is regarded as her best and most coveted period. During this time she participated in group shows in Paris—in Antagonisme at the Louvre in 1960 and at the Musée d’art moderne in 1962 and 1965. She won the silver medal at the Bienal de São Paulo in 1961, making her the first Québécoise to receive such a recognition.

Estimate: $6,000 – 8,000

84 62 Jean Lefébure When we consider the history of post-war art and artists in 1930 – 2013 Quebec, it now seems inexplicable that works by Jean Lefébure were so seldom exhibited during his lifetime. Born in Montreal, La nef aux vents he studied architecture at an early age but was more interested oil on canvas, signed and dated 1962 in painting. Although only 17 years old and self-taught, Lefébure and on verso signed, titled and dated sought out and became acquainted with the artists who became 51 x 76 3/4 in, 129.5 x 194.9 cm signatories of the Refus global manifesto in 1948, and he counted Provenance Paul-Émile Borduas and Pierre Gauvreau among his mentors. Private Collection, Toronto In 1949 Lefébure left for Europe to broaden his cultural education. He spent time in Spain, where he exhibited his first abstract paintings, and eventually settled in Paris. After his return to Canada in 1965, he began what became a long career teaching in the fine art departments of Laval University and thenCÉ GEP de Saint-Laurent in Montreal. By all accounts, Lefébure was a much-admired teacher who was content to stay out of the lime- light as an exhibiting artist. La nef aux vents demonstrates the artist’s sure hand in the application of pigment and control of the subtle palette typical of his best abstract works.

Estimate: $10,000 – 15,000

85 86 63 Paul-Émile Borduas AUTO CAS QMG RCA 1905 – 1960 Libellules égarées oil on canvas, signed and on verso titled, dated circa 1953 – 1954 on the Mira Godard gallery label, inscribed with the Laing Inventory #1458, Laing 3 / $1100 and Laing 13 Toronto on the Arthur Lénars & Cie, Agents en douane, Paris, shipping label and stamped with the Douane (customs) stamp, 1953 32 x 39 1/4 in, 81.3 x 99.7 cm Arthur Lénars & Cie, Agents en douane, Paris, shipping label Provenance Acquired directly from the Artist in Paris, October 20, 1958, by G. Blair Laing, Laing Galleries, Toronto Mira Godard Gallery, Toronto, 1982

Literature and possibly at the important retrospective of American art at the François-Marc Gagnon, Paul-Émile Borduas (1905 – 1960), Metropolitan Museum of Art (December 1953), and maybe even Biographie critique et analyse de l’oeuvre, 1978, listed at the Jackson Pollock one-man show at the Sidney Janis Gallery page 454, no. 7 (February 1954). André-G. Bourassa and Gilles Lapointe, Paul-Émile Borduas, Suddenly, the idea of “objects” suspended in front of a back- Tome 2, Correspondance (1954 – 1960), édition critique, 1997, ground that receded indefinitely behind them that Borduas pages 1016 – 1017 had used in his Automatist paintings did not make sense any François-Marc Gagnon, Paul-Émile Borduas: A Critical Biography, more. In these works, it was as if the old perspective of space 2013, page 448, listed page 448 was maintained in non-figurative painting. In his new paintings produced in New York, the “objects” exploded and were reduced Canadian art dealers were in contact with Paul-Émile to fragments, and the background migrated to the surface of the Borduas even after his departure from Quebec to New York and painting. There was no more “composition” of elements of differ- then to Paris. On October 20, 1958, the Toronto gallery owner ent size and importance, and no hierarchy between them. There G. Blair Laing visited Borduas and purchased eight paintings, were no accents to attract the eye here rather than there, as in which were shipped a week later by Arthur Lénars & Cie, the classic European paintings. custom agents Borduas dealt with in Paris. Among them was In this work, the libellules (dragonflies) égarées (strayed) over Libellules égarées, which has now resurfaced. It is noticeable that the whole surface, and this surface had taken on a tactile feel, by the paintings acquired by Laing were not the austere Black and getting thicker and showing obvious traces of the painting knife, White works that Borduas was producing then, but were from his rather than the smooth strokes of the brush. You could even get New York period. Borduas wrote to Martha Jackson in New York: the feeling that what was given to you to see could expand out of “I’ve sold a lot since your last visit to the studio. All I have left are the canvas area in all directions, as if what you were looking at six or seven canvases from New York. A sale of eight paintings was just a section of a bigger world. Insects, such as the dragon- this week has got me in a tizzy and obliges me to revise my prices, flies mentioned in the title, could very well express, by their at least for the New York period … ” He even thought that he apparently random flight in all directions, this expansion of would stop selling his New York paintings, as he had done with the scope of the painting, which was no longer confined to the his Automatist period works. As a matter of fact, Blair Laing was surface of the canvas. the great promoter of Borduas’s New York period with the collec- When I published my book on Borduas two years ago through tors of Toronto. It is not at all surprising then that Libellules égarées, McGill-Queen’s University Press, I said that Libellules égarées had acquired in 1982 by the Mira Godard Gallery, was purchased by “vanished.” Well, I was wrong—it has now shown up, and it is an a Toronto collector. important and beautiful painting. Even though Libellules égarées is dated circa 1953 – 1954 on the We thank François-Marc Gagnon of the Gail and Stephen A. gallery label, I tend to date it at the end of this period rather than Jarislowsky Institute for Studies in Canadian Art, Concordia at the beginning, because of the strong all-over character of the University, for contributing the above essay. painting, a style that was still foreign to Borduas when he arrived This work is included in François-Marc Gagnon’s online cata- in New York in 1953. He was confronted for the first time by this logue raisonée on the artist’s work at www.borduas.concordia.ca/ “American-type painting,” to quote the words of the great Ameri- en/about/index.php, catalogue #2005-0976. can art critic Clement Greenberg, at the annual exhibition of the Whitney Museum of American Art (October – December 1953), Estimate: $200,000 – 300,000

87 64 Antony (Tony) Scherman In his introduction to the exhibition catalogue for Tony 1950 – Scherman: New Mythologies, curator David Moos describes the titular subject of our painting: “Even obscure figures drawn from Circe (The Odyssey Part II) literature—such as Circe , the demiurge, enchantress and some- encaustic on canvas, on verso signed, time sorceress from Homer’s Odyssey—acquire an unsettling titled and dated July 2009 grandeur.” Indeed, the magnified and close-cropped visage in 60 x 60 in, 152.4 x 152.4 cm Circe (The Odyssey Part II) is disconcerting, due not only to her Provenance size, but also to the elimination of the background, which normally Georgia Scherman Projects Inc., Toronto provides context, clues and perspective. Without these visual cues Private Collection, Toronto we, the viewers, must form our own version of the goddess’s story. Instead of providing context, Scherman focuses on the surface of Literature the work, building up layers of hot, melting, pigmented wax, the David Moos et al., Tony Scherman: New Mythologies, The Gallery texture emulating that of human skin and suggesting a fusion at Windsor, 2011, reproduced catalogue #17, unpaginated of the subject’s skin and that of the canvas. The drips, splashes, Exhibited scoring and scraping indicate the labour-intensive physical process The Gallery at Windsor, Vero Beach, Florida, Tony Scherman: required to produce such a work. Circe is a stunning example from New Mythologies, March 26 – May 31, 2011 Scherman’s series of seductive oversized portraits.

Estimate: $30,000 – 50,000

88 65 Paul-Émile Borduas w forces that had shaped the Quebecois people.” Not only was it AUTO CAS QMG RCA 1905 – 1960 the driving force behind the Automatist movement, it is now regarded as a milestone in the modernization of Quebec, expos- Refus global ing the province to the cosmopolitan ideas of the post-war era. limited edition book, signed and stamped Dr. Gabriel Phaneuf, The manifesto was written by Paul-Émile Borduas and co-signed editioned 323/400 and dated 1948 by 15 other artists, including Marcel Barbeau, Claude Gauvreau, 8 5/8 x 7 3/8 x 1/4 in, 21.9 x 18.7 x 0.6 cm Marcelle Ferron, Fernand Leduc and Jean Paul Riopelle, who Provenance painted the cover art. Besides the manifesto, the publication Collection of Dr. Gabriel Phaneuf (1922 – 2004), Saint-Hyacinthe includes two essays on language and Surrealism by Borduas, Private Collection, Quebec three short plays by Gauvreau, an essay on dance by Françoise Sullivan, Bruno Cormier’s text on pictorial art, a poem by Leduc Literature and photographs by Maurice Perron. This rare book—only 400 Roald Nasgaard, Abstract Painting in Canada, Art Gallery of copies were printed—quickly sold out and has been acquired by Nova Scotia, 2007, page 83 many institutions, such as Library and Archives Canada and the Montreal Museum of Fine Arts. Published in 1948, the Refus global manifesto is a historical document that signaled an important cultural shift in Quebec. In Estimate: $6,000 – 8,000 art historian Roald Nasgaard’s words, it was “a passionate attack on all the repressive social, political, historical and religious

89 66 Jean Paul Riopelle Et vert—And Green, indeed! One cannot look at this paint- AUTO CAS OC QMG RCA SCA 1923 – 2002 ing without being attracted by the green area on the right. It is painted in the same style as Jean Paul Riopelle’s paintings of the Et vert 1950s, with strokes of the palette knife juxtaposed, creating an oil on canvas, signed and dated 1966 almost square area loosely framed by white or blue lines, and and on verso signed, dated and inscribed Vert? seems to spill over at the bottom. We almost have the impression 57 1/2 x 38 in, 146 x 96.5 cm of a painting within a painting, as if Riopelle wanted to quote his Provenance own work in another style, freer than before. Nothing in his pre- Galerie Maeght, Paris vious production was so tormented, if I may say so, as the black Collection of Mr. and Mrs. Neil McKinnon, Toronto area at the bottom of the painting. In Et vert, his vocabulary of Miriam Shiell Fine Art Ltd., Toronto strokes has expanded considerably. Before, one could easily rec- Acquired from the above by John Oravec ognize the shape of his palette knife in the shape of the imprint Acquired from the above by the present left by the instrument—here new kinds of traces, longer, curved, Private Collection, Ontario sinuous, stretch above the large area, even if the more familiar style is present elsewhere in the painting, especially in the “green Literature square” and above it. Yseult Riopelle, Jean Paul Riopelle Catalogue Raisonné, One of Riopelle’s big challenges during the 1960s was to Volume 4, 1966 – 1971, 2014, reproduced page 102, avoid repeating himself endlessly, in the style that made him so catalogue #1966.039H successful in the 1950s. In 1959 he began a relationship with Exhibited the American painter Joan Mitchell. Living together throughout Galerie Maeght, Paris, Riopelle: derrière le miroir no. 160, 1966, the 1960s, they kept separate homes and studios near Giverny, catalogue #9 where Claude Monet had lived. This Monet connection is of Waddington & Gorce Inc., Montreal, March 4 – 31, 2000 great importance in understanding Riopelle’s development. At a Robert Miller Gallery, New York, Riopelle, 2005 moment when in France and in the United States, Pablo Picasso was seen as the great master of modern art, to go back to Monet might have been seen as un pas en arrière (a step backwards). In fact, the great “decorative” paintings created by Monet at the end of his life—the Water Lilies series works that are in the Musée de l’Orangerie—were free from the three-dimensional space on which Picasso was still dependent and stressed the presence of the surface on a scale habitually reserved, if not always to political but certainly to ideological painting, like the great murals of Eugène Delacroix or Gustave Courbet. In the Water Lilies series, Monet succeeded in integrating the intimacy of the surface with the scale of the mural. This lesson was not lost on Riopelle, nor Mitchell for that matter. Both were cultivating the feeling of the surface, the destruction of any illusion of depth, and a free play with the scale of the canvas on which they painted. Critics were at a loss to describe their style and spoke of “nuagisme” (from nuage or cloud), when it would have been more to the point to speak of tactile space, experienced by both the eyes and by the touch. The paintings lacked forms that could be seen as detachable from a uniform background (the green square excepted! But is it really “detachable”?). This approach gives the idea of a painting as shapeless as a sky covered by clouds. The concept of informe (without form) was never very much in favour in French painting. Even a painter such as Georges Mathieu, open to the new trends as he was, kept the idea of a certain calligraphy in his own painting, where the “signs” detached themselves from the background. Placed in this context, I believe that Et vert is significant. This is of course the bias of an art historian. But even art histori- ans can express the pleasure a painting gives them, as is the case here. Green could be your preferred colour! We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University, for contributing the above essay.

Estimate: $200,000 – 300,000

90 91 67 Kazuo Nakamura formal disbandment, encompasses the attributes commonly CGP CSGA CSPWC P11 1926 – 2002 ascribed to Nakamura’s work: delicacy, tranquility, gentleness and precision. The colour palette, which consists of a monochro- Summer Reflection matic range of blues and greens, covers the canvas in an all-over oil on board, signed and dated 1960 and on verso method. Upon closer inspection of the work, the influence of sci- signed, titled on the gallery label and inscribed Toronto 9 ence and mathematics is reflected in his technical precision and 37 x 48 in, 94 x 121.9 cm meticulous paint application. Unlike the bold sweep approach to Provenance colour application that was adopted by several members of the Laing Galleries, Toronto abstract Painters Eleven group, Nakamura opted for a laborious Private Collection, New York painting process, involving short and repetitive linear brush- strokes, which build upon themselves to create an intricate Literature surface that is forceful and visually compelling. Iris Nowell notes Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, that, while “words such as ‘delicacy’ and ‘gentleness’ are com- 2011, page 302 monly attached to his paintings, there’s little description of their power … The viewer just has to look a little closer, a little longer.” The landscapes painted by Kazuo Nakamura in the 1950s and 1960s portray nature without traceable human presence, in Estimate: $25,000 – 35,000 a style that sets him apart from other members of Painters Eleven. Summer Reflection, completed in the same year as the group’s

92 68 Kazuo Nakamura That portrait serves to remind us of Nakamura’s unique and CGP CSGA CSPWC P11 1926 – 2002 unwavering point of view in crafting the kind of paintings for which he is so well known. No matter what the subject of his Lakeside, August Morning images, his creative vision was formed by his respect for the all- oil on canvas, signed and on verso signed, encompassing mysteries of the natural world, tempered by the titled on the artist’s label, inscribed Toronto 9 inescapable influence of modern scientific discovery on our ways and stamped Galerie Agnès Lefort, circa 1960 – 1965 of seeing and understanding our surroundings. When we con- 24 x 30 3/4 in, 61 x 78.1 cm sider his earliest “inner structure” works, his “string” paintings Provenance and then his later “number structure” images, Nakamura’s sig- Galerie Agnès Lefort, Montreal nificance as a purely abstract artist is unquestionable. However, Private Collection, Toronto throughout his career, he often painted the landscape—although with an awareness of what he believed to be the “fundamental Literature universal pattern in all art and nature.” Lakeside, August Morning Ihor Holubizky, Kazuo Nakamura: The Method of Nature, The reveals trees and sky, water and reflections but its power lies Robert McLaughlin Gallery, 2001, page 14, the photograph beyond those elements, as it tempts us to linger in Nakamura’s reproduced page 7 near-monochrome, cool, floating patterns.

The catalogue for the comprehensive 2001 touring exhibi- Estimate: $20,000 – 30,000 tion of his paintings features a photograph of a very young Kazuo Nakamura holding an edition of the journal Scientific American.

93 94 After World War II, he emerged as a leader in Vancouver’s modernist community of artists, architects and planners. Shadbolt’s profound connection with nature in British Columbia, expressed through the use of biomorphic form, created a body of work that, considered as a whole, was an explosion of creative ideas that continued to evolve decade after decade. He was an artist intimately linked with images of the West Coast who was also informed by the wider world view of emerging art movements and theories. His work was universal in its merging of the conscious and unconscious, its infusion of psychological yearnings and potentialities and primitive potency. One of Shadbolt’s most extraordinary and sought-after motifs is that of the butterfly or moth, which first appeared in the early 1970s, when he worked on his Butterfly Transformations series. Associated with freedom and celebration, this proved to be such a potent theme that Shadbolt continued to work with it through the 1980s. The abstract design of butterfly wings was a rich source of patterning for Shadbolt’s complex images of organic form. His imagery ranged from works with large forms on abstract backgrounds or, as we see here, an abstracted natural environment, to complex planes of layered and entangled biomorphic forms through which the butterfly flitted. Shadbolt explained the genesis of his fascination: while in the Swiss Alps in 1969, he was standing in a meadow when there appeared “up from the gentians, in front of our eyeballs, two zig-zagging fritillaries flip-flopping out over the space. Nothing much, but their event seemed momentous— demented, dangerous, memorable.” Another source of interest to Shadbolt was the work of Vladimir Nabokov, well-known for his novel Lolita, who as well as being a writer was a lepidopterist, who at one time was in charge of Lepidoptera at Harvard’s Museum of Comparative Zoology. For Nabokov, there were associations to sexual pursuit and conquest in the practice of butterfly collecting. This intrigued Shadbolt, who discussed with a psychiatrist friend the concept of the butterfly as a symbol of sexual release. Seashore Nocturne is a stunning work in which a butterfly, or possibly a moth—as this is a nocturne and moths are active at night—floats over an abstracted seascape containing drifting, fragmented shapes and biomorphic sea forms. The sea is not 69 Jack Leonard Shadbolt the natural environment of the butterfly or moth, thus this could BCSFA CGP CSPWC OC RCA 1909 – 1998 symbolize the notion of escape to an imaginary realm, or a dream Seashore Nocturne of an environment outside of one’s usual experience, inhabited acrylic and latex on board, triptych, signed and dated 1977 by strange creatures such as the pale forms in the central panel, and on verso titled, dated and inscribed with which are reminiscent of shells or amorphous sea creatures. the artist’s name on each panel Subtle reflections on time and mortality could also be read into 60 x 120 in, 152.4 x 304.8 cm this work through the juxtaposition of the timeless sea and the ephemeral butterfly, whose short lifespan makes it all the more Provenance precious. Bau-Xi Gallery, Vancouver In Seashore Nocturne Shadbolt shows his mastery of the formal Private Collection, Vancouver properties of painting. The work possesses a vital colour palette Literature full of contrasts between the cool blues and greens of the ocean Scott Watson, Jack Shadbolt, 1990, page 149 and the bright, warm notes of purple, pink, red and orange. It is full of movement in its shifting spatial planes, its floating forms, Jack Shadbolt was an influential second-generation West and the ocean, which ripples and foams in the dark. Resonant Coast modernist. During the 1930s and 1940s, he had been with hidden meaning, this interactive realm of air, water and keenly interested in emerging art movements in Europe and the form captures our imagination with its life-affirming energy. United States, and had assimilated influences from Paul Cézanne, Pablo Picasso, Surrealism and early Abstract Expressionism. Estimate: $40,000 – 60,000

95 70 Alfred Pellan CAS OC PY QMG RCA 1906 – 1988 Les bûcherons gouache on paper, signed and on verso titled, dated circa 1931 and inscribed 1A and B 9 x 6 in, 22.9 x 15.2 cm

Provenance Private Collection, Montreal

Bright in colour and playful, this gouache is testimony to Alfred Pellan’s eclectic and irreverent artistic tem- perament. Taking inspiration from the Canadian tradition of landscape painting, Les bûcherons is a personal and modern rendering of a winter forest scene. Here, the figurative elements are reduced to their pictorial minimum and are repeated like calligraphic signs over contrasting colour fields. The overall style of this work is akin to folk and naive art, which the artist was especially fond of. Pellan demonstrated an exceptional talent for painting at a very early age. He entered the École des beaux-arts de Québec in 1916 at the age of 15. Five years later he moved to Paris to pursue his training and career. By the time he came back to Canada in 1940, he had successfully made a name for himself on the Parisian art scene. His work had been included in important exhibitions and his paintings were sold by the highly regarded Parisian dealer Jeanne Bucher, who represented prestigious artists such as Georges Braque, Pablo Picasso and Fernand Léger, to name but a few.

Estimate: $7,000 – 9,000

96 71 John Meredith ARCA 1933 – 2000 Untitled oil on canvas, on verso titled and dated 1970 on the gallery label 48 x 96 in, 121.9 x 243.8 cm

Provenance The Isaacs Gallery Ltd., Toronto Private Collection, Toronto

John Meredith, younger brother of Painters Eleven member William Ronald, studied at the Ontario College of Art under Jock Macdonald and began exhibiting with the Isaacs Gallery in Toronto in 1960. Untitled is an excellent example of the work Meredith was able to achieve after 1962, when he started using the blurred ink lines from his drawings in his paintings. Brilliantly coloured and on the verge of psychedelic, Untitled has striking similarities to his auction record-setting work Rio. The imagery is mysterious; a river-like horizon line and mounded forms reference landscape, but overall the work is highly abstract and instinctive. Graphic qualities and a sense of spontaneity make this canvas pulsate with energy. Black feathered outlines strongly define the image while the strokes of colour are freely applied. Given the seeming spontaneity of this work, it is hard to believe that Meredith’s working practice was to transfer his image, without changes, from a small coloured drawing to his canvas with the use of transparent graph paper.

Estimate: $40,000 – 60,000

97 72 Thomas Sherlock Hodgson Iris Nowell writes in Painters Eleven: The Wild Ones of Cana- CGP CSPWC OSA P11 RCA 1924 – 2006 dian Art that in a review of Tom Hodgson’s inaugural exhibition at Toronto’s Christopher Cutts Gallery in 1990, Hodgson stated, Untitled “For me, process is more important than content … In fact, the oil on canvas, signed and dated 1962 process of painting is the subject of the painting.” Embodying this and on verso signed, titled and dated statement and indicating his affinity for experimentation and pro- 40 x 48 in, 101.6 x 121.9 cm cess is the wide and varied range of works he created throughout Provenance his career, including drawings, watercolours, paintings and Private Collection, Toronto various forms of mixed media and collage. The sweeping, gestural forms and pastel colour palette of Untitled are favoured Literature elements in Hodgson’s paintings. His self-assured brush-strokes Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, of black, plum and teal balance the luscious, sweet pastels of 2011, page 8 mauve and icy blue. Caramel pigments drip across the canvas while animated lines of white and lemon-yellow dance on the surface. Dynamic and expressive, Untitled is an excellent example of Hodgson’s exploration of process in the early 1960s.

Estimate: $12,000 – 16,000

98 73 Jean Albert McEwen By 1969 multiple solo and group exhibitions, both Canadian AANFM RCA 1923 – 1999 and international, had firmly established Jean McEwen’s status as a significant member of Canada’s art scene. That same year, he Corps à corps à fleur de rose was named a member of the Royal Canadian Academy of Arts, acrylic on canvas, signed and dated 1968 and he exhibited his series Corps à corps at Galerie Godard Lefort and on verso signed, titled and dated November 1968 in Montreal. Corps à corps à fleur de rose is a compelling example 30 1/8 x 30 1/8 in, 76.5 x 76.5 cm from this important period in McEwen’s career. His brief foray Provenance into hard-edge abstraction can be seen at the edges of the can- Galerie Agnès Lefort, Montreal vas, where beige stripes create boundaries to the rose and taupe Private Collection, Montreal centre. The dappled surface of this centre reminds us of the many layers of pigment contained within its soft, cloud-like forms, Literature which in their movement create a sense of dimensionality. In Constance Naubert-Riser, Jean McEwen: Colour in Depth, deliberate contrast, the flatness of the margins, which pull to the The Montreal Museum of Fine Arts, 1987, a similar work front of the picture plane, underscores the inherent two-dimen- entitled Corps à corps à fleur de violet, in the collection of the sionality of the painting. A similar canvas from the same series Vancouver Art Gallery, reproduced page 96 entitled Corps à corps à fleur de violet is in the collection of the Vancouver Art Gallery.

Estimate: $12,000 – 16,000

99 74 William Kurelek During William Kurelek’s lifetime he painted Canada from ARCA OC OSA 1927 – 1977 coast to coast. His childhood on the Prairies, on farms in Alberta and Manitoba, gave him a love and awe for the expansiveness Near Dawson Creek of skies and horizons and the power of the forces of nature over mixed media on board, on verso titled the land. He most often depicted people or their habitations as and titled and dated 1973 on the Isaacs Gallery label small in a large landscape, as with this finely detailed farm scene. 47 1/2 x 48 3/4 in, 120.6 x 123.8 cm Kurelek was very religious, which imbued his work with a sense Provenance of a mystical union with nature. Certainly that feeling is present The Isaacs Gallery Ltd., Toronto in this idyllic panorama with its glorious sky and heightened, Anglo Canadian Pulp & Paper Company, Quebec, 1974 almost surreal, green, in which Kurelek captured the essence Private Collection, Toronto of Canada’s vast beauty. Sold sale of Fine Canadian Art, Heffel Fine Art This work is accompanied by a letter from the Isaacs Gallery Auction House, May 25, 2005, lot 57 detailing the history of the painting. Private Collection, Vancouver Estimate: $50,000 – 70,000 Exhibited Burnaby Art Gallery, A Prairie Painter in the Mountains, 1973

100 75 Jack Hamilton Bush moved back and forth between figuration and abstraction. ARCA CGP CSGA CSPWC OSA P11 1909 – 1977 The year 1953 was a pivotal one for Bush—he participated in the exhibition Abstracts at Home in Toronto with a group of Small Red Hill modernist artists, who afterwards became Painters Eleven. oil on board, signed and on verso titled, dated 1953 Abstraction would dominate Bush’s work by 1955, but in 1953 and inscribed Caledon on the Jack Bush Art Estate he was still painting landscape. Marc Mayer’s description of label and P-35 on a label one of Bush’s styles as “perspectival distortion with increasingly 17 x 22 in, 43.2 x 55.9 cm expressionist angularity” is an apt one for this strong landscape. Provenance There is a jagged rhythm and coiled tension to the rolling land Estate of the Artist and folding layers of clouds, and the central grey-white square Grace Borgenicht Gallery, New York, 1988 form hovers in the clouds like an abstracted motif. In Small Red Private Collection Hill, Bush has left behind the conventionality of his earlier work for a new and powerful expressionist interpretation of the land- Literature scape, which contains intimations of his movement towards Marc Mayer and Sarah Stanners, Jack Bush, National Gallery abstraction. of Canada, 2014, page 15 This work will be included in Sarah Stanners’s forthcoming Jack Bush Paintings: A Catalogue Raisonné. Jack Bush’s landscapes of the 1930s and 1940s were influenced by Charles Comfort and the Group of Seven. However, Estimate: $8,000 – 12,000 after encountering Abstract Expressionism during a 1950 trip to New York, Bush experimented with abstraction, and for a time

101 76 Edward John (E.J.) Hughes Calgary, Regina, Toronto, Montreal and Ottawa in detailed draw- BCSFA CGP OC RCA 1913 – 2007 ings, watercolours and oils, such as this fine depiction of Regina’s parliament building. Hughes’s choice of this long view down the Bridge and Parliament Building, Regina Albert Memorial Bridge over Wascana Lake, created with metic- oil on canvas, signed and on verso signed, titled, dated 1957 and ulous sightlines, is striking. Reflecting the great interest in the inscribed HU and with the Dominion Gallery Inventory #D2572 discovery of the stunning treasures in King Tutankhamun’s tomb 25 1/8 x 32 1/8 in, 63.8 x 81.6 cm in 1923, the terra cotta balusters on the bridge were designed Provenance with motifs of lotus flower and papyrus and painted with bright Dominion Gallery, Montreal pastels. Hughes offset the classic Beaux Arts architecture of the Private Collection, Montreal parliament building and the Eygptian-influenced bridge against the lake and park-like surroundings, creating intriguing architec- Literature tural contrasts while observing the tranquil balance between the Jacques Barbeau, The E.J. Hughes Album: The Paintings, Volume 1, man-made and the natural. On his return to Vancouver Island, 1932 – 1991, 2011, reproduced page 27 after completing his studio oils derived from this trip, Hughes resumed his depictions of rural British Columbia, making urban Dr. Max Stern, E.J. Hughes’s art dealer in Montreal, had urged scenes such as this, particularly in oil, rare to the market. him to travel across Canada to paint city scenes, and in the fall of 1956, Hughes set off on this mission. He produced images of Estimate: $25,000 – 35,000

102 77 Molly Joan Lamb Bobak of crowds in motion, painting bathers on the beach, pedestrians BCSFA CGP CPE CSGA CSPWC RCA 1922 – 2014 on busy streets and, in this evocative work, a group of skaters. Brian Foss writes that “For Molly crowds are interesting because Skating by the Green they pose an endlessly fascinating aesthetic challenge, and also oil on board, signed and on verso titled because they embody a dynamic and anarchic principle of life 30 x 40 in, 76.2 x 101.6 cm to which she is powerfully drawn.” Here skaters stream away Provenance into the distance; more recognizable close-up, they become Private Collection, Vancouver abstracted into dark streaks in the snow as they move away and Private Collection, British Columbia become submerged in Bobak’s expressionist brush-strokes. The wide expanse of snow-covered ice is depicted with luscious pas- Literature tels, and bright sparks of red, green and blue animate the snowy Cindy Richmond and Brian Foss, Molly Lamb Bobak: scene. Crowd scenes such as this are the most sought after in A Retrospective, MacKenzie Art Gallery, 1993, page 48 Bobak’s oeuvre, and Skating by the Green, crackling with the pulse of life, is a fine example. As early as the 1940s, when she was appointed an official war artist, Molly Lamb Bobak was drawn to humanity, and depicted Estimate: $10,000 – 15,000 groups of women on drill, in the mess hall or at leisure. After- wards, she continued to be fascinated with the dynamic rhythm

103 78 John Geoffrey Caruthers Little After studying at the Montreal Museum of Fine Arts’ ARCA 1928 – school, John Little began working as a draughtsman at his father’s architectural firm in 1951. When he began painting cityscapes Jeune canadienne grecque, in 1953, his works reflected his interest in Montreal’s distinctive rue Jeanne-Mance, Montreal buildings and urban neighbourhoods. The city was adversely oil on canvas, signed and on verso signed, titled Jeune affected by urban planners of the 1960s, so his work is a valuable canadienne grecque, rue Jeanne-Manse [sic], Montreal, record of the uniqueness that was lost. Little’s distillation of the dated 1975 and inscribed 75-172 atmosphere of winter in Montreal is highly refined and utterly 24 x 30 in, 61 x 76.2 cm distinctive. He captures the unique greyish-white light of an over- Provenance cast day, and his painterly depiction of snow is adept. He showed Galerie Walter Klinkhoff Inc., Montreal it collecting in soft clumps on pots, caught in the crook of a tree By descent to the present Private Collection, Ontario and creased with footprints on the sidewalk—portrayed with strokes and scribbles of green-grey on the white. Some of Little’s most sought-after works are of the stylish, cosmopolitan women of Montreal, such as this lovely young woman stepping jauntily down the street in her fashionable winter outfit. The contrast between her youthful modernity and the historic neighbourhood around her is particularly delightful.

Estimate: $12,000 – 16,000

104 79 John Geoffrey Caruthers Little Quebec City is known for its unique historic neighbourhoods, ARCA 1928 – and here John Little captures a vibrant scene at the corners of St-Olivier and Sutherland streets. The narrow twisting streets, Rue St-Olivier, au coin de rue Sutherland, Quebec City gable-roofed buildings and small corner stores and bistros are the oil on canvas board, signed and on verso signed, charming setting for the action on the street—children playing dated March 1961, inscribed sketch / 15 – 61 and a group gathered around a horse and sledge. The horse- and stamped with the Dominion Gallery stamp drawn sledge, something commonplace in the past, contrasts 12 x 16 in, 30.5 x 40.6 cm with the modern cars parked further up the street. Typical of his Provenance work in the 1960s, Little’s brushwork is loose and fluid, with Dominion Gallery, Montreal streaks of tracks through the snow adding a sense of movement. Galerie Walter Klinkhoff Inc., Montreal Although the day is overcast, the light is luminous, brightened by Galerie l’Art Français Ltée., Montreal the white of the snow. Adding further to the vivacity of the scene Galerie Clarence Gagnon, Montreal are the splashes of colour throughout, from the red signs to the Private Collection, Toronto blue of a child’s coat, a roof and a parked car. This is a classic winter painting from Little’s oeuvre, reflecting his interest in both architecture and in the life of the people in urban neighbourhoods such as this.

Estimate: $10,000 – 15,000

105 80 William Hodd (Bill) McElcheran

RCA 1927 – 1999 Businessman bronze sculpture, initialed, editioned 2/9 and dated 1996 29 x 10 x 8 1/2 in, 73.7 x 25.4 x 21.6 cm

Provenance Private Collection, Vancouver

William McElcheran trained in sculpture at the Ontario College of Art and was also an architectural designer. He started as a woodworker, specializing in art and furniture for churches. He rose to be chief designer for Bruce Brown and Brisely Architects, and worked on design- ing 23 churches and university buildings. He formed Daedalus Designs in 1973, the purpose of which was integrating sculpture with architecture. His best-known sculpture subject is the iconic businessman, shown caught in the whirl of his corporate life. As in Businessman, a quintessential McElcheran work, he depicted these men of commerce as robust and self-possessed, constantly in movement. Their conformity is indicated by their classic dress of overcoat, hat, suit and tie, carrying business paraphernalia such as briefcases. His viewpoint was both satirical and compassionate, drawing us to sympathize with them, as urbanites often feel caught in the frantic pace and roles of modern life. McElcheran’s businessmen can be seen in many public installations across Canada and in the United States, Germany, Italy and Japan. Please note: the bronze base measures 10 3/4 × 11 3/4 × 1 inches.

Estimate: $15,000 – 20,000

Thank you for attending our sale of Post-War & Contemporary Art. Our Fine Canadian Art Auction will commence at 7:00 pm. Please view additional lots in our November Online Auction of Fine Canadian Art at www.heffel.com, which closes Saturday, November 28, 2015. Lots can be viewed in our galleries in Vancouver, Toronto or Montreal.

106 Invitation to Consign

Alexander Colville Invitation to Consign Man on Verandah glazed tempera on board 15 x 20 in, 38.1 x 50.8 cm We are now accepting consignments for our Spring Live Auction of: sold for a record $1,287,000 Post-War & Contemporary Art Fine Canadian Art

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© Estates of Jean-Paul Riopelle, Serge Lemoyne and Jean McEwen/SODRAC (2015) Quebec and Canadian Art + International Art – Early to Modern + Decorative Arts and Design: photos Marc Cramer. International Contemporary Art: photo MMFA, Denis Farley. Archaeology and World Cultures: photo MMFA, Christine Guest

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These Terms and Conditions of Business represent the terms 9. Buyer upon which the Auction House contracts with the Consignor The Buyer is the person, corporation or other entity or such and, acting in its capacity as agent on behalf of the Consignor, entity’s agent who bids successfully on the Lot at the auction contracts with the Buyer. These Terms and Conditions of Busi- sale; ness shall apply to the sale of the Lot by the Auction House to the Buyer on behalf of the Consignor, and shall supersede and take 10. Purchase Price precedence over any previously agreed Terms and Conditions The Purchase Price is the Hammer Price and the Buyer’s of Business. These Terms and Conditions of Business are hereby Premium, applicable Sales Tax and additional charges and incorporated into and form part of the Consignment Agreement Expenses, including expenses due from a defaulting Buyer; entered into by the Auction House and the Consignor. 11. Buyer’s Premium The Buyer’s Premium is the amount paid by the Buyer to the A. defined Terms Auction House on the purchase of a Lot, that is calculated 1. Auction House on the Hammer Price as follows: a rate of eighteen percent The Auction House is Heffel Fine Art Auction House, a (18%) of the Hammer Price of the Lot $2,501 and above; or, a division of Heffel Gallery Inc., or an affiliated entity; rate of twenty-five percent (25%) of the Hammer Price of the Lot up to $2,500, plus applicable Sales Tax; 2. Consignor The Consignor is the person or entity named in the Consign- 12. Sales Tax ment Agreement as the source from which the Property or Sales Tax means the Federal and Provincial sales and excise Lot has been received for auction; taxes applicable in the jurisdiction of sale of the Lot;

3. Seller’s Commission 13. Registered Bidder The Seller’s Commission is the amount paid by the Consignor A Registered Bidder is a bidder who has fully completed the to the Auction House on the sale of a Lot, that is calculated registration process, provided the required information to the on the Hammer Price, at the rates specified in writing by Auction House and has been assigned a unique paddle num- the Consignor and the Auction House on the Consignment ber for the purpose of bidding on Lots in the auction; Agreement Form, plus applicable Sales Tax; 14. Proceeds of Sale 4. Property The Proceeds of Sale are the net amount due to the Con- The Property is any Property delivered by the Consigor to signor from the Auction House, which shall be the Hammer the Auction House to be placed in the auction sale held by Price less Seller’s Commission at the Published Rates and the Auction House on its premises, online or elsewhere and, Expenses and any other amounts due to the Auction House or specifically, that Property described by Lot number in the associated companies; Auction House catalogue for the auction sale. The Auction House will have the authority to partition the Property into 15. Live and Online Auctions Lots (the “Lots” or “Lot”); These Terms and Conditions of Business apply to all live and online auction sales conducted by the Auction House. For the 5. Reserve purposes of online auctions, all references to the Auctioneer The reserve is a minimum price for the sale of the Lot, agreed shall mean the Auction House and Knocked Down is a literal to between the Consignor and the Auction House; reference defining the close of the auction sale.

6. Knocked Down Knocked Down means the conclusion of the sale of the Lot B. tHe Buyer being auctioned by the Auctioneer; 1. The Auction House The Auction House acts solely as agent for the Consignor, 7. Expenses except as otherwise provided herein. Expenses shall include all costs incurred, directly or indirectly, in relation to the consignment and sale of the Lot; 2. The Buyer a) The highest Registered Bidder acknowledged by the 8. Hammer Price Auctioneer as the highest bidder at the time the Lot is The Hammer Price is the price at which the Auctioneer has Knocked Down; Knocked Down the Lot to the Buyer;

112 b) The Auctioneer has the right, at his sole discretion, to reopen 5. Payment of the Purchase Price a Lot if he has inadvertently missed a Bid, or if a Registered a) The Buyer shall: Bidder, immediately at the close of a Lot, notifies the Auc- (i) Unless he has already done so, provide the Auction House tioneer of his intent to Bid; with his name, address and banking or other suitable refer- c) The Auctioneer shall have the right to regulate and control ences as may be required by the Auction House; and the bidding and to advance the bids in whatever intervals he (ii) Payment must be made by 4:30 p.m. on the seventh (7th) day considers appropriate for the Lot in question; following the auction by: a) Bank Wire direct to the Auction d) The Auction House shall have absolute discretion in settling House’s account, b) Certified Cheque or Bank Draft or c) a any dispute in determining the successful bidder; Personal or Corporate Cheque. All Certified Cheques, Bank e) The Buyer acknowledges that invoices generated during the Drafts and Personal or Corporate Cheques must be verified sale or shortly after may not be error free, and therefore are and cleared by the Auction House’s bank prior to all pur- subject to review; chases being released. The Auction House honours payment f) Every Registered Bidder shall be deemed to act as principal by Debit Card or by Credit Card limited to VISA or Master- unless the Auction House has acknowledged in writing at Card. Credit Card payments are subject to acceptance and least twenty-four (24) hours prior to the date of the auction approval by the Auction House and to a maximum of $5,000 that the Registered Bidder is acting as an agent on behalf of a if the Buyer is providing his Credit Card details by fax, or to disclosed principal and such agency relationship is acceptable a maximum of $25,000 if the Credit Card is presented in to the Auction House; person with valid identification. Such Credit Card payment g) Every Registered Bidder shall fully complete the registration limits apply to the value of the total purchases made by the process and provide the required information to the Auction Buyer and will not be calculated on individual transactions House. Every Registered Bidder will be assigned a unique for separate Lots. In all circumstances, the Auction House paddle number (the “Paddle”) for the purpose of bidding prefers payment by Bank Wire transfer. on Lots in the auction. For online auctions, a password will b) Title shall pass, and release and/or delivery of the Lot shall be created for use in the current and future online sales only. occur, only upon payment of the Purchase Price by the Buyer This online registration procedure may require up to twenty- to the Auction House. four (24) hours to complete; h) Every Registered Bidder acknowledges that once a bid is 6. Descriptions of Lot made with his Paddle, or Paddle and password, as the case a) All representations or statements made by the Auction House, may be, it may not be withdrawn without the consent of the or in the Consignment Agreement, or in the catalogue or Auctioneer, who, in his sole discretion, may refuse such other publication or report, as to the authorship, origin, date, consent; and age, size, medium, attribution, genuineness, provenance, i) Every Registered Bidder agrees that if a Lot is Knocked Down condition or estimated selling price of the Lot, are statements on his bid, he is bound to purchase the Lot for the Purchase of opinion only. The Buyer agrees that the Auction House Price. shall not be liable for any errors or omissions in the catalogue or any supplementary material produced by the Auction 3. Buyer’s Price House; The Buyer shall pay the Purchase Price (inclusive of the b) All photographic representations and other illustrations pre- Buyer’s Premium) to the Auction House. The Buyer acknowl- sented in the catalogue are solely for guidance and are not edges and agrees that the Auction House may also receive a to be relied upon in terms of tone or colour or necessarily to Seller’s Commission. reveal any imperfections in the Lot; c) Many Lots are of an age or nature which precludes them 4. Sales Tax Exemption from being in pristine condition. Some descriptions in the All or part of the Sales Tax may be exempt in certain circum- catalogue or given by way of condition report make reference stances if the Lot is delivered or otherwise removed from the to damage and/or restoration. Such information is given for jurisdiction of sale of the Lot. It is the Buyer’s obligation to guidance only and the absence of such a reference does not demonstrate, to the satisfaction of the Auction House, that imply that a Lot is free from defects, nor does any reference such delivery or removal results in an exemption from the to particular defects imply the absence of others; relevant Sales Tax legislation. Shipments out of the jurisdic- d) The prospective Buyer must satisfy himself as to all matters tion of sale of the Lot(s) shall only be eligible for exemption referred to in a), b) and c) of this paragraph by inspection, from Sales Tax if shipped directly from the Auction House other investigation or otherwise prior to the sale of the Lot. and appropriate delivery documentation is provided, in If the prospective Buyer is unable to personally view any advance, to the Auction House. All claims for Sales Tax Lot, the Auction House may, upon request, e-mail or fax a exemption must be made prior to or at the time of payment condition report describing the Lot to the prospective Buyer. of the Purchase Price. Sales Tax will not be refunded once Although the Auction House takes great care in executing the Auction House has released the Lot. such condition reports in both written and verbal format, condition reports are only matters of opinion, are non-exhaustive,

113 and the Buyer agrees that the Auction House shall not be only after payment of the Purchase Price and Expenses to held responsible for any errors or omissions contained within. the Auction House; The Buyer shall be responsible for ascertaining the condition e) To charge interest on the Purchase Price at the rate of five of the Lot; and percent (5%) per month above the Royal Bank of Canada e) The Auction House makes no representations or warranties base rate at the time of the auction sale and adjusted month to the Buyer that the Buyer of a Lot will acquire any copyright to month thereafter; or other reproduction right in any purchased Lot. f) To retain that or any other Lot sold to the Buyer at the same or any other auction and release the same only after payment of 7. Purchased Lot the aggregate outstanding Purchase Price; a) The Buyer shall collect the Lot from the Auction House by g) To apply any Proceeds of Sale of any Lot then due or at any 4:30 p.m. on the seventh (7th) day following the date of the time thereafter becoming due to the Buyer towards settle- auction sale, after which date the Buyer shall be responsible ment of the Purchase Price, and the Auction House shall be for all Expenses until the date the Lot is removed from the entitled to a lien on any other property of the Buyer which is offices of the Auction House; in the Auction House’s possession for any purpose; b) All packing, handling and shipping of any Lot by the Auction h) To apply any payments made by the Buyer to the Auction House is undertaken solely as a courtesy service to the Buyer, House towards any sums owing from the Buyer to the Auction and will only be undertaken at the discretion of the Auction House without regard to any directions received from the House and at the Buyer’s risk. Prior to all packing and ship- Buyer or his agent, whether express or implied; and ping, the Auction House must receive a fully completed and i) In the absolute discretion of the Auction House, to refuse or signed Shipping Form and payment in full of all purchases; revoke the Buyer’s registration in any future auctions held by and the Auction House. c) The Auction House shall not be liable for any damage to glass or frames of the Lot and shall not be liable for any errors 10. Guarantee or omissions or damage caused by packers and shippers, The Auction House, its employees and agents shall not be whether or not such agent was recommended by the Auction responsible for the correctness of any statement as to the House. authorship, origin, date, age, size, medium, attribution, genuineness or provenance of any Lot or for any other errors 8. Risk of description or for any faults or defects in any Lot, and a) The purchased Lot shall be at the Consignor’s risk in all no warranty whatsoever is given by the Auction House, its respects for seven (7) days after the auction sale, after which employees or agents in respect of any Lot, and any express or the Lot will be at the Buyer’s risk. The Buyer may arrange implied conditions or warranties are hereby excluded. insurance coverage through the Auction House at the then prevailing rates and subject to the then existing policy; and 11. Attendance by Buyer b) Neither the Auction House nor its employees nor its agents a) Prospective Buyers are advised to inspect the Lot(s) before shall be liable for any loss or damage of any kind to the Lot, the sale, and to satisfy themselves as to the description, attri- whether caused by negligence or otherwise, while any Lot is bution and condition of each Lot. The Auction House will in or under the custody or control of the Auction House. arrange suitable viewing conditions during the preview pre- ceding the sale, or by private appointment; 9. Non-payment and Failure to Collect Lot(s) b) Prospective Buyers are advised to personally attend the sale. If the Buyer fails either to pay for or to take away any Lot by However, if they are unable to attend, the Auction House 4:30 p.m. on the seventh (7th) day following the date of the will execute bids on their behalf subject to completion of the auction sale, the Auction House may in its absolute discretion proper Absentee Bid Form, duly signed and delivered to the be entitled to one or more of the following remedies without Auction House forty-eight (48) hours before the start of the providing further notice to the Buyer and without prejudice to auction sale. The Auction House shall not be responsible nor any other rights or remedies the Auction House may have: liable in the making of any such bid by its employees a) To issue judicial proceedings against the Buyer for damages or agents; for breach of contract together with the costs of such proceed- c) In the event that the Auction House has received more than ings on a full indemnity basis; one Absentee Bid Form on a Lot for an identical amount and b) To rescind the sale of that or any other Lot(s) sold to the at auction those absentee bids are the highest bids for that Buyer; Lot, the Lot shall be Knocked Down to the person whose c) To resell the Lot or cause it to be resold by public or private Absentee Bid Form was received first; and sale, or by way of live or online auction, with any deficiency d) At the discretion of the Auction House, the Auction House to be claimed from the Buyer and any surplus, after Expenses, may execute bids, if appropriately instructed by telephone, to be delivered to the Buyer; on behalf of the prospective Buyer, and the prospective d) To store the Lot on the premises of the Auction House or Buyer hereby agrees that neither the Auction House nor its third-party storage facilities with Expenses accruing to the employees nor agents shall be liable to either the Buyer or the account of the Buyer, and to release the Lot to the Buyer Consignor for any neglect or default in making such a bid.

114 12. Export Permits 4. Commission and Expenses Without limitation, the Buyer acknowledges that certain a) The Consignor authorizes the Auction House to deduct the property of Canadian cultural importance sold by the Auction Seller’s Commission and Expenses from the Hammer Price House may be subject to the provisions of the Cultural Prop- and, notwithstanding that the Auction House is the Consign- erty Export and Import Act (Canada), and that compliance or’s agent, acknowledges that the Auction House shall charge with the provisions of the said act is the sole responsibility and retain the Buyer’s Premium; of the Buyer. b) The Consignor shall pay and authorizes the Auction House to deduct all Expenses incurred on behalf of the Consignor, together with any Sales Tax thereon; and C . tHE ConsiGNOR c) The Auction House retains all rights to photographic and print- 1. The Auction House ing material and the right of reproduction of such photographs. a) The Auction House shall have absolute discretion as to whether the Lot is suitable for sale, the particular auction sale 5. Insurance for the Lot, the date of the auction sale, the manner in which a) Lots are only covered by insurance under the Fine Arts the auction sale is conducted, the catalogue descriptions of Insurance Policy of the Auction House if the Consignor so the Lot, and any other matters related to the sale of the Lot at authorizes; the auction sale; b) The rate of insurance premium payable by the Consignor is b) The Auction House reserves the right to withdraw any Lot at $15 per $1,000 (1.5%) of the greater value of the high estimate any time prior to the auction sale if, in the sole discretion of value of the Lot or the realized Hammer Price or for the alter- the Auction House: native amount as specified in the Consignment Receipt; (i) there is doubt as to its authenticity; c) If the Consignor instructs the Auction House not to insure a (ii) there is doubt as to the accuracy of any of the Consignor’s Lot, it shall at all times remain at the risk of the Consignor, representations or warranties; who hereby undertakes to: (iii) the Consignor has breached or is about to breach any provi- (i) indemnify the Auction House against all claims made or pro- sions of the Consignment Agreement; or ceedings brought against the Auction House in respect of (iv) any other just cause exists. loss or damage to the Lot of whatever nature, howsoever and c) In the event of a withdrawal pursuant to Conditions C.1.b (ii) wheresoever occurred, and in any circumstances even where or C.1.b (iii), the Consignor shall pay a charge to the Auction negligence is alleged or proven; House, as provided in Condition C.8. (ii) reimburse the Auction House for all Expenses incurred by the Auction House. Any payment which the Auction House 2. Warranties and Indemnities shall make in respect of such loss or damage or Expenses shall a) The Consignor warrants to the Auction House and to the be binding upon the Consignor and shall be accepted by the Buyer that the Consignor has and shall be able to deliver Consignor as conclusive evidence that the Auction House was unencumbered title to the Lot, free and clear of all claims; liable to make such payment; and b) The Consignor shall indemnify the Auction House, its (iii) notify any insurer of the existence of the indemnity contained employees and agents and the Buyer against all claims made in these Terms and Conditions of Business. or proceedings brought by persons entitled or purporting to d) The Auction House does not accept responsibility for Lots be entitled to the Lot; damaged by changes in atmospheric conditions and the c) The Consignor shall indemnify the Auction House, its Auction House shall not be liable for such damage nor for any employees and agents and the Buyer against all claims made other damage to picture frames or to glass in picture frames; or proceedings brought due to any default of the Consignor and in complying with any applicable legislation, regulations and e) The value for which a Lot is insured under the Fine Arts these Terms and Conditions of Business; and Policy of the Auction House in accordance with Condition d) The Consignor shall reimburse the Auction House in full C.5.b above shall be the total amount due to the Consignor and on demand for all Expenses or any other loss or dam- in the event of a successful claim being made against the age whatsoever made, incurred or suffered as a result of any Auction House. breach by the Consignor of Conditions C.2.a and/or C.2.c above. 6. Payment of Proceeds of Sale a) The Auction House shall pay the Proceeds of Sale to the Con- 3. Reserves signor thirty-five (35) days after the date of sale, if the Auction The Auction House is authorized by the Consignor to Knock House has been paid the Purchase Price in full by the Buyer; Down a Lot at less than the Reserve, provided that, for the b) If the Auction House has not received the Purchase Price from purposes of calculating the Proceeds of Sale due to the Con- the Buyer within the time period specified, then the Auction signor, the Hammer Price shall be deemed to be the full House will pay the Proceeds of Sale within seven (7) working amount of the agreed Reserve established by the Auction days following receipt of the Purchase Price from the Buyer; House and the Consignor. and

115 c) If before the Purchase Price is paid in full by the Buyer, the b) Lots returned at the Consignor’s request shall be returned at Auction House pays the Consignor an amount equal to the the Consignor’s risk and expense and will not be insured in Proceeds of Sale, title to the property in the Lot shall pass to transit unless the Auction House is otherwise instructed by the Auction House. the Consignor; and c) If any Lot is unsold by auction, the Auction House is autho- 7. Collection of the Purchase Price rized as the exclusive agent for the Consignor for a period If the Buyer fails to pay to the Auction House the Purchase of ninety (90) days following the auction to sell such Lot by Price within thirty (30) days after the date of sale, the Auction private sale or auction sale for a price that will result in a pay- House will endeavour to take the Consignor’s instructions as ment to the Consignor of not less than the net amount (i.e., to the appropriate course of action to be taken and, so far as after deduction of the Seller’s Commission and Expenses) to in the Auction House’s opinion such instructions are practi- which the Consignor would have been entitled had the Lot cable, will assist the Consignor in recovering the Purchase been sold at a price equal to the agreed Reserve, or for such Price from the Buyer, save that the Auction House shall not lesser amount as the Auction House and the Consignor shall be obligated to issue judicial proceedings against the Buyer agree. In such event, the Consignor’s obligations to the Auc- in its own name. Notwithstanding the foregoing, the Auction tion House hereunder with respect to such a Lot are the same House reserves the right and is hereby authorized at the Con- as if it had been sold at auction. The Auction House shall signor’s expense, and in each case at the absolute discretion continue to have the exclusive right to sell any unsold Lots of the Auction House, to agree to special terms for payment of after the said period of ninety (90) days, until such time as the Purchase Price, to remove, store and insure the Lot sold, the Auction House is notified in writing by the Consignor that to settle claims made by or against the Buyer on such terms such right is terminated. as the Auction House shall think fit, to take such steps as are necessary to collect monies from the Buyer to the Consignor 10. Consignor’s Sales Tax Status and, if appropriate, to set aside the sale and refund money to The Consignor shall give to the Auction House all relevant the Buyer. information as to his Sales Tax status with regard to the Lot to be sold, which he warrants is and will be correct and upon 8. Charges for Withdrawn Lots which the Auction House shall be entitled to rely. The Consignor may not withdraw a Lot prior to the auction sale without the consent of the Auction House. In the event 11. Photographs and Illustrations that such consent is given, or in the event of a withdrawal In consideration of the Auction House’s services to the Con- pursuant to Condition C.1.b (ii) or C.1.b (iii), a charge of signor, the Consignor hereby warrants and represents to the twenty-five percent (25%) of the high presale estimate, Auction House that it has the right to grant to the Auction together with any applicable Sales Tax and Expenses, is House, and the Consignor does hereby grant to the Auction immediately payable to the Auction House, prior to any House, a nonexclusive, perpetual, fully paidup, royalty free release of the Property. and non-revocable right and permission to: a) reproduce (by illustration, photograph, electronic reproduc- 9. Unsold Lots tion, or any other form or medium whether presently known a) Unsold Lots must be collected at the Consignor’s expense or hereinafter devised) any work within any Lot given to the within the period of ninety (90) days after receipt by the Auction House for sale by the Consignor; and Consignor of notice from the Auction House that the Lots b) use and publish such illustration, photograph or other repro- are to be collected (the “Collection Notice”). Should the duction in connection with the public exhibition, promotion Consignor fail to collect the Lot from the Auction House and sale of the Lot in question and otherwise in connection within ninety (90) days from the receipt of the Collection with the operation of the Auction House’s business, including Notice, the Auction House shall have the right to place such without limitation by including the illustration, photograph Lots in the Auction House’s storage facilities or thirdparty or other reproduction in promotional catalogues, compila- storage facilities, with Expenses accruing to the account of tions, the Auction House’s Art Index, and other publications the Consignor. The Auction House shall also have the right and materials distributed to the public, and by communicat- to sell such Lots by public or private sale and on such terms ing the illustration, photograph or other reproduction to the as the Auction House shall alone determine, and shall deduct public by telecommunication via an Internet website oper- from the Proceeds of Sale any sum owing to the Auction ated by or affiliated with the Auction House (“Permission”). House or to any associated company of the Auction House Moreover, the Consignor makes the same warranty and rep- including Expenses, before remitting the balance to the resentation and grants the same Permission to the Auction Consignor. If the Consignor cannot be traced, the Auction House in respect of any illustrations, photographs or other House shall place the funds in a bank account in the name of reproductions of any work provided to the Auction House the Auction House for the Consignor. In this condition the by the Consignor. The Consignor agrees to fully indemnify expression “Proceeds of Sale” shall have the same meaning the Auction House and hold it harmless from any damages in relation to a private sale as it has in relation to a sale by caused to the Auction House by reason of any breach by the auction; Consignor of this warranty and representation.

116 D. GENERAL CONDITIONS 8. The Auction House will not accept any liability for any errors 1. The Auction House as agent for the Consignor is not respon- that may occur in the operation of any video or digital repre- sible for any default by the Consignor or the Buyer. sentations produced and/or broadcasted during an auction 2. The Auction House shall have the right at its absolute discre- sale. tion to refuse admission to its premises or attendance at its 9. This Agreement shall be governed by and construed in accor- auctions by any person. dance with British Columbia Law and the laws of Canada 3. The Auction House has the right at its absolute discretion to applicable therein and all parties concerned hereby submit to refuse any bid, to advance the bidding as it may decide, to the exclusive jurisdiction of the British Columbia Courts. withdraw or divide any Lot, to combine any two or more Lots 10. Unless otherwise provided for herein, all monetary amounts and, in the case of dispute, to put up any Lot for auction again. referred to herein shall refer to the lawful money of Canada. At no time shall a Registered Bidder retract or withdraw his 11. All words importing the singular number shall include the bid. plural and vice versa, and words importing the use of any gen- 4. For advertising and promotional purposes, the Consignor der shall include the masculine, feminine and neuter genders, acknowledges and agrees that the Auction House shall, in and the word “person” shall include an individual, a trust, a relation to any sale of the Lot, make reference to the aggre- partnership, a body corporate, an association or other incor- gate Purchase Price of the Lot, inclusive of the Buyer’s porated or unincorporated organization or entity. Premium, notwithstanding that the Seller’s Commission is 12. If any provision of this Agreement or the application thereof calculated on the Hammer Price. to any circumstances shall be held to be invalid or unen- 5. Any indemnity hereunder shall extend to all actions, pro- forceable, the remaining provisions of this Agreement, or ceedings, costs, claims and demands whatsoever incurred the application thereof to other circumstances, shall not be or suffered by the person for whose benefit the indemnity is affected thereby and shall be held valid to the full extent given, and the Auction House shall hold any indemnity on permitted by law. trust for its employees and agents where it is expressed to be for their benefit. The Buyer and the Consignor are hereby advised to read 6. Any notice given hereunder shall be in writing and if given fully the Agreement which sets out and establishes the rights by post shall be deemed to have been duly received by the and obligations of the Auction House, the Buyer and the addressee within three (3) business days. Consignor and the terms by which the Auction House shall 7. The copyright for all illustrations and written matter relating conduct the sale and handle other related matters. to the Lots shall be and will remain at all times the absolute property of the Auction House and shall not, without the prior written consent of the Auction House, be used by any other person.

AAM Art Association of Montreal founded in 1860 PSA Pastel Society of America AANFM Association des artistes non-figuratifs de Montréal PSC Pastel Society of Canada AAP Association des arts plastiques PY Prisme d’yeux ACM Arts Club of Montreal QMG Quebec Modern Group AGA Art Guild America R5 Regina Five 1961 – 1964 AGQ Association des graveurs du Québec RA Royal Academy AHSA Art, Historical and Scientific Association of Vancouver RAAV Regroupement des artistes en arts visuels du Québec ALC Arts and Letters Club RAIC Royal Architects Institute of Canada AOCA Associate Ontario College of Art RBA Royal Society of British Artists ARCA Associate Member Royal Canadian Academy of Arts RCA Royal Canadian Academy of Arts founded in 1880 ASA Alberta Society of Artists RI Royal Institute of Painters in Watercolour ASPWC American Society of Painters in Water Colors RMS Royal Miniature Society ASQ Association des sculpteurs du Québec ROI Royal Institute of Oil Painters AUTO Les Automatistes RPS Royal Photographic Society AWCS American Watercolor Society RSA Royal Scottish Academy BCSA British Columbia Society of Artists RSC Royal Society of Canada BCSFA British Columbia Society of Fine Arts founded in 1909 RSMA Royal Society of Marine Artists BHG Beaver Hall Group, Montreal 1920 – 1922 RSPP Royal Society of Portrait Painters CAC Canadian Art Club RWS Royal Watercolour Society CAS Contemporary Arts Society SAA Society of American Artists CC Companion of the Order of Canada SAAVQ Société des artistes en arts visuels du Québec CGP Canadian Group of Painters 1933 – 1969 SAP Société des arts plastiques CH Companion of Honour Commonwealth SAPQ Société des artistes professionnels du Québec CPE Canadian Painters–Etchers’ Society SC The Studio Club CSAA Canadian Society of Applied Art SCA Society of Canadian Artists 1867 – 1872 CSGA Canadian Society of Graphic Artists founded in 1905 SCPEE Society of Canadian Painters, Etchers and Engravers CSMA Canadian Society of Marine Artists SSC Sculptors’ Society of Canada CSPWC Canadian Society of Painters in Water Colour SWAA Saskatchewan Women Artists’ Association founded in 1925 TCC Toronto Camera Club EGP Eastern Group of Painters TPG Transcendental Painting Group 1938 – 1942 FBA Federation of British Artists WAAC Women’s Art Association of Canada FCA Federation of Canadian Artists WIAC Women’s International Art Club FRSA Fellow of the Royal Society of Arts WS Woodlands School G7 Group of Seven 1920 – 1933 YR Young Romantics IAF Institut des arts figuratifs ϕ Indicates that Heffel Gallery owns an equity interest in IWCA Institute of Western Canadian Artists the Lot LP Les Plasticiens w Denotes that additional information on this lot can be MSA Montreal Society of Arts found on our website at www.heffel.com NAD National Academy of Design NEAC New English Art Club NSSA Nova Scotia Society of Artists OC Order of Canada OIP Ontario Institute of Painters OM Order of Merit British OSA Ontario Society of Artists founded in 1872 P11 Painters Eleven 1953 – 1960 PDCC Print and Drawing Council of Canada PNIAI Professional Native Indian Artists Incorporation POSA President Ontario Society of Artists PPCM Pen and Pencil Club, Montreal PRCA President Royal Canadian Academy of Arts

These catalogue terms are provided for your guidance: Heffel takes great pride in being the leader in the Canadian fine art auction industry and has an unparalleled track record. We Cornelius David Krieghoff are proud to have been the dominant auction house in the Cana- In our best judgment, a work by the artist. dian art market from 2004 to the present. Our firm’s growth and Attributed to Cornelius David Krieghoff success has been built on hard work and innovation, our commit- In our best judgment, a work possibly executed in whole or in part ment to our Clients and our deep respect for the fine art we offer. by the named artist. At Heffel we treat our consignments with great care and respect, and consider it an honour to have them pass through our hands. Studio of Cornelius David Krieghoff We are fully cognizant of the historical value of the works we In our best judgment, a work by an unknown hand in the studio handle and their place in art history. of the artist, possibly executed under the supervision of the Heffel, to further define its distinction in the Canadian art auc- named artist. tion industry, has taken the following initiative. David and Robert Circle of Cornelius David Krieghoff Heffel, second-generation art dealers of the Company’s founding In our best judgment, a work of the period of the artist, closely Heffel family, have personally crafted the foundation documents related to the style of the named artist. (as published on our website www.heffel.com): Heffel’s Corporate Constitutional Values and Heffel’s Code of Business Conduct, Ethics Manner of Cornelius David Krieghoff and Practices. We believe the values and ethics set out in these In our best judgment, a work in the style of the named artist and documents will lay in stone our moral compass. Heffel has flour- of a later date. ished through more than three decades of change, proof that our After Cornelius David Krieghoff hard work, commitment, philosophy, honour and ethics in all that In our best judgment, a copy of a known work of the named artist. we do serve our Clients well. Heffel’s Employees and Shareholders are committed to Heffel’s Nationality Code of Business Conduct, Ethics and Practices, together with Unless otherwise noted, all artists are Canadian. Heffel’s Corporate Constitutional Values, our Terms and Conditions Signed / Titled / Dated of Business and related corporate policies, all as amended from In our best judgment, the work has been signed/titled/dated by time to time, with respect to our Clients, and look forward to the artist. If we state “dated 1856” then the artist has inscribed continued shared success in this auction season and ongoing. the date when the work was produced. If the artist has not inscribed the date and we state “1856”, then it is known the work David K.J. Heffel was produced in 1856, based on independent research. If the President, Director artist has not inscribed the date and there is no independent date and Shareholder (through Heffel Investments Ltd.) reference, then the use of “circa” approximates the date based on style and period. Robert C.S. Heffel Bears Signature / Bears Date Vice-President, Director In our best judgment, the signature/date is by a hand other than and Shareholder (through R.C.S.H. Investments Ltd.) that of the artist.

Dimensions Measurements are given height before width in both inches and centimetres.

Provenance

Is intended to indicate previous collections or owners.

Certificates / Literature / Exhibited Any reference to certificates, literature or exhibition history represents the best judgment of the authority or authors named. Literature citations may be to references cited in our Lot essay. These references may also pertain to generic statements and may not be direct literary references to the Lot being sold.

Estimate Our Estimates are intended as a statement of our best judgment only, and represent a conservative appraisal of the expected Hammer Price.

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Heffel Fine Art Auction House will arrange to have Property pur- Purchaser’s Name as invoiced chased at the auction sale packed, insured and forwarded to the Purchaser at the Purchaser’s expense and risk pursuant to the Terms and Conditions of Business set out in the auction sale cata- Shipping Address logue. The Purchaser is aware and accepts that Heffel Fine Art Auction House does not operate a professional packing service City Province, Country and shall provide such assistance for the convenience only of the Purchaser. Your signature on this form releases Heffel Fine Art Auction House from any liability that may result from damage Postal Code E-mail Address sustained by artwork during packing and shipping. All such works are packed at the Purchaser’s risk and then transported by a car- Residence Telephone Business Telephone rier chosen at the discretion of Heffel Fine Art Auction House. Works purchased may be subject to the Cultural Property Export and Import Act (Canada), and compliance with the provisions of Fax Cellular the said act is the sole responsibility of the Purchaser. Credit Card Number Expiry Date

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Heffel Fine Art Auction House Shipping Quotation 13 & 15 Hazelton Avenue, Toronto, ON, Canada M5R 2E1 Yes, please send me a quotation for the shipping options Tel: 416-961-6505 · Fax: 416-961-4245 selected above. [email protected] · www.heffel.com No shipping quotation necessary, please forward my purchases as indicated above. (Please note: packing charges may apply in addition to shipping charges.)

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I agree to receive e-mails from Heffel Fine Art Auction House. You can withdraw consent at any time. Your consent is sought Address of Bank by Heffel Gallery Ltd., on its own behalf and on behalf of Hef- fel Gallery Inc., Galerie Heffel Québec Ltée. and Heffel Gallery Name of Account Officer Telephone Alberta Ltd. To allow time for processing, Absentee Bids should be received at least 24 hours before the sale begins. Heffel Fine Art Auction signature Date House will confirm by telephone or e-mail all bids received. If you have not received our confirmation within one business day, Date Received (for office use only) please re-submit your bids or contact us at:

Heffel Fine Art Auction House confirmed (for office use only) 13 & 15 Hazelton Avenue, Toronto, ON, Canada M5R 2E1 Tel 416-961-6505 · Fax 416-961-4245 [email protected] · www.heffel.com

Estimate: $35,000 – 55,000 To be offered october 29, 2015 fINE iNTERNATIONAL aRT, oCTOBER 29, 2015 fEATURING WORKS BY:

George Bellows, Bernard Buffet, Lynn Chadwick, Claude Flight, Henri Laurens, Joan Miró, Christopher R. W. Nevinson, Cyril Power, Jesús Rafael Soto and others.

Please visit heffel.com for sale details.

Fine Art Auction House www.heffel.com · 1 800 528 9608 · [email protected] Index of artists by lot

A – B M – O Bellefleur, Léon 35 McElcheran, William Hodd (Bill) 80 Bobak, Molly Joan Lamb 77 McEwen, Jean Albert 31, 32, 73 Borduas, Paul-Émile 63, 65 Mead, Raymond John 29, 45 Bush, Jack Hamilton 16, 17, 18, 23, 75 Meredith, John 71 Molinari, Guido 24, 25, 28 Nakamura, Kazuo 67, 68 C – E Cahén, Oscar 41 Colville, Alexander 51, 52, 54 P – R Comtois, Ulysse 27 Pellan, Alfred 40, 48, 70 Dallaire, Jean-Philippe 15, 39 Pratt, Christopher 53, 56, 57, 58 Etrog, Sorel 20, 21 Pratt, Mary Frances 49, 50 Ewen, William Paterson 26 Riopelle, Jean Paul 59, 60, 66 Eyre, Ivan Kenneth 14 Ronald, William 47

F – J S – Z Fafard, Joseph Hector Yvon (Joe) 22 Scherman, Antony (Tony) 64 Ferron, Marcelle 33, 34, 61 Shadbolt, Jack Leonard 69 Frost, Sir Terry 46 Smith, Gordon Appelbe 1, 2, 3 Gagnon, Charles 30 Tanabe, Takao 4, 5, 6 Gervais, Lise 42, 44 Goodwin, Betty Roodish 55 Hepworth, Barbara 19 Hodgson, Thomas Sherlock 72 Hughes, Edward John (E.J.) 76

K – L Kurelek, William 7, 8, 9, 10, 11, 74 Lefébure, Jean 62 Lemieux, Jean Paul 37, 38 Letendre, Rita 36, 43 Lichtenstein, Roy 12, 13 Little, John Geoffrey Caruthers 78, 79

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